Arch Daily |
- BIG Reveals Skyscraper Design for First Project in South America
- 50 of the Best Facade Construction Details
- Trends in Real-Time Rendering
- Uce Apartment / Iya Turabelidze studio
- A' Interior Space, Retail and Exhibition Design Award Winners
- Eperon d’Or, National Museum for Shoes & Brooms / Compagnie O Architects + Sabine Okkerse + Geert Pauwels
- DIY House / Reset Architecture
- Terrazzo Floors Bring History to Life
- V Villa / White Cube Atelier
- T House / Creative Architects
- Wood and Concrete: Impressive Examples in Indian Architecture
- AD Classics: New Museum / SANAA
- Cheonggye-Ri House / JMY architects
- Asian Games Village Residence III / Vir.Mueller Architects
- CUBO’s Entrance Pavilion Seamlessly Integrates Aarhus City’s Old Town Into The Modern City
- Greater Goods Coffee / Michael Hsu Office of Architecture
- School Architecture: 70 Examples in Plan and Section
- Paxton House / alma-nac
- Le Corbusier’s Paintings Showcased for the First Time Since 1966
- Tangent House / Ruben Muedra Estudio de Arquitectura
| BIG Reveals Skyscraper Design for First Project in South America Posted: 14 Oct 2018 10:00 PM PDT  Courtesy of Bjarke Ingels Group Soon to become the tallest building in Quito, IQON is Bjarke Ingels Group's first project to be built in South America. Currently undergoing construction, the largely residential building is a curved tower with gradually protruding balconies. Encased between the dense city and the park, the self-dubbed "urban tree farm" aims not only to encompass the surrounding views of the volcanoes and nature beyond but also to integrate the landscape within the building itself.  Courtesy of Bjarke Ingels Group Stacked 33 floors tall, the series of terraced concrete boxes provide 35,000 square meters of floor space. Each box rotates to form apartment units with balconies along both north and south facades, providing extensive views and a sense of openness.  Courtesy of Bjarke Ingels Group The scheme of stepped terraces opens up to create a public plaza at the base of the building, with plans to house the retail space and allow residents to rest in the shade or access the building lobbies. Continuing the terracing at the roof level, the lap pool amidst the steps offers views overlooking the city.  Courtesy of Bjarke Ingels Group With the aim to engage the nearby La Carolina park, each terrace features a different species of a tree native to Ecuador that once outgrown, can be replanted in the city. "The entire facade of the project becomes a vertical display of the biodiversity of Quito," said a statement from BIG. "The building becomes part of a green cycle - from park to building back to park."  Courtesy of Bjarke Ingels Group Enabled by the installation of a hollow wall underneath each balcony, the urban tree farm uses this mechanism to hold down the roots of the trees. Inside the unit, the planters serve as concrete sculptures which become the root zone for the trees in the apartments above.  Courtesy of Bjarke Ingels Group Unlike typical green architecture, the proposal reinvents the vertical garden to allow La Carolina to "climb up and into the building," encapsulating the holistic experience of Quito into a single structure. News via Bjarke Ingels Group
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| 50 of the Best Facade Construction Details Posted: 14 Oct 2018 09:00 PM PDT  Facade detail Brick House The facade is the calling card of an architecture project, an often iconic and recognizable element that becomes part of the collective imaginary. We frequently see them featured in photographs and art—such as Andreas Gursky's work, or as part of movie sets. It is almost impossible to forget the pink symmetrical façade of 'The Budapest Hotel' by director Wes Anderson, or even, in music videos or album covers, like the legendary 'Physical Grafitti' by Led Zeppelin. One of the complexities of satisfactorily representing a facade detail is the point of view. What is the best view/frame for a facade detail? Is it in section, axonometric, or plan view? We've selected 50 facade details with the aim of showing different ways of approaching this type of representation, highlighting aspects such as materiality, joints, interior comfort and color (among other properties that are part of the facades).  Facade detail hospital Santa Fe de Bogotá Foundation / El Equipo de Mazzanti  Facade detail Santa Fe of Bogotá Foundation Gribone Building / Ventura Virzi arquitectos  Facade detail Gribone Building Mahallat Residential Building No3 / CAAT Studio  Facade detail Mahallat Residencial Building Star Engineers, Administrative Building and Factory / Studio VDGA  Facade detail Haussmann Stories Brick House / Ventura Virzi arquitectos  Facade detail Arthron Building Optical Glass House / Hiroshi Nakamura & NAP  Facade detail Kahrizak Club House Altos de San Antonio / Dutari Viale Arquitectos  Facade detail The Iceberg Building Angle Lake Transit Station and Plaza / Brooks + Scarpa  Facade detail Stars Engineers administrative building and factory Secondary School Extension / SMS Arquitectos  Facade detail brick house 2 Optical Glass House / Hiroshi Nakamura & NAP  Facade detail Optical glass House c Marble House / Openbox Architects  Facade detail Marble House Vertical House / Miró Rivera Architects  Facade detail Vertical house Collage House / S+PS Architects  Facade detail Collage House Casa Geometrica / JOHO Architecture  Facade detail Geometric House  Facade detail BLM House Altos de San Antonio Clubhouse / Dutari Viale Arquitectos  Facade detail Club House Altos of San Antonio Angle Lake Transit Station and Plaza / Brooks + Scarpa  Facade detail Angle Lake Transit Station and Plaza Secondary School Extension / SMS Arquitectos  Facade detail school building extension Tobin Center for the Performing Arts / LMN + Marmon Mok  Facade detail Tobin Performing Arts Center Stapleton Library / Andrew Berman Architect  Facade detail Stapleton Library Winery in Mont-Ras / Jorge Vidal + Víctor Rahola  Facade detail Winery in Mont-Ras G.Zanella Primary School Renovation and Extension / Giulia de Appolonia- officina di architettura  Facade detail G.Zanella Primary school Northwestern University Ryan - Walter Athletics Center / Perkins+Wil  Facade detail Northwestern University Athletic Centre  Facade detail Adjustable Textile Nest We Grow / College of Environmental Design UC Berkeley + Kengo Kuma & Associates  Facade detail Nest We Grow Nest We Grow / College of Environmental Design UC Berkeley + Kengo Kuma & Associates  Facade detail Nest We Grow  Facade detail Somriures ecoSuites, A Reed-Clad Hotel / Alex A. Tsolakis Architecture  Facade detail ecoSuites, A Reed-Clad Hotel Hive Hotel Facade Remodel / Preposition Architecture  Facade detail Hive Hotel Coallia - Residencia y Restaurante Social / Peripheriques Architectes  Facade detail Coallia Residence and Restaurant Constituyentes Fachada Iluminada / Taller David Dana Arquitectura  Facade detail illuminated facade  Facade detail Handball Stadium Weill Cornell Medical College Belfer Research Building / Todd Schliemann | Ennead Architects  Facade detail Cornell Weill Medical Centre Sky Central / AL_A + PLP Architecture + HASSELL  Facade detail Sky Central Building 1,500 Semi-Transparent Plastic Baskets Form a Lightweight Facade  Facade detail 1500 semi transparent baskets Gabriela Mistral Cultural Center / Cristián Fernández Arquitectos + Lateral arquitectura & diseño  Facade detail Cultural Centre  Facade detail Kraanspoor Vakko Headquarters and Power Media Center / REX  Facade detail Vakko Headquarters Ningbo Facade / LAB Architecture Studio  Facade detail Ningbo Montrond-les-Bains Casino / DATA architectes  Facade detail Montrond-les-Bains Casino Busan Opera House Proposal: 3rd Prize Winner / Henning Larsen Architects + Tomoon Architects  Facade detail Busan Opera House Proposal Manhattan Districts 1/2/5 Garage & spring street Salt Shed / Dattner Architects  Facade detail Manhattan Districts 1/2/5 Garage Sea Pavillion / Stefano Boeri Architetti  Facade detail Sea Pavillion The Design Museum of London / OMA + Allies and Morrison + John Pawson  Facade detail The Design Museum of London Cubic Buildings by NADAAA and Himma Studio Redefine the Office Space  Facade detail Cubic Buildings Rifugio Monte Penna / Lucio Serpagli Library and Learning Centre University of Economics Vienna / Zaha Hadid Architects  Facade detail University of Economics Vienna Library Weill Cornell Medical College Belfer Research Building / Todd Schliemann | Ennead Architects  Facade detail Cornell Weill Medical Centre Pathé Foundation / Renzo Piano Building Workshop  Facade detail Pathé Foundation This posting includes an audio/video/photo media file: Download Now |
| Posted: 14 Oct 2018 08:15 PM PDT  Are architects really turning to real-time rendering for visualization? Epic Games, the creators of Unreal Engine, decided to find out with an independent survey. The results confirmed what many of us have suspected—real-time rendering is on the rise in architecture, media and entertainment, and manufacturing. But the survey also revealed a few surprising details about real-time rendering and its uses. What is Real-Time Rendering, Exactly?Maybe you've heard about real-time rendering but aren't sure how it relates to what you do. Real-time rendering is the process of using the same techniques you've been using for years for visualization—modeling, materials, lighting, and animation—but with the traditional rendering process replaced with a render engine that has the capability to render on the fly, in real time. Real-time rendering gives you the ability to see what the final result will look like right away. Even special effects like fog and depth-of-field can be viewed instantly rather than waiting for a lengthy rendering process. While real-time rendering might seem too good to be true, it's actually happening now because of advances in game engine technology. Game engines like Unreal Engine have been pushing the envelope of real-time rendering for years, and the resulting technology has converged with the needs of not only architectural visualization but also film and television, where production companies are using real-time technology to speed up the creative process and even render final pixels. Game engines like Unreal Engine are currently being offered for free for non-game uses. Free tools like these have fueled a boom in the switch to real-time for architectural visualization.  The Accelerating Adoption of Real-Time RenderingThe Forrester Report tells us that architects are more inclined than ever to switch to real-time rendering. According to the report, 95% of architects are interested in adopting real-time rendering solutions as a means for reviewing and editing designs with customers. Another driver for real-time rendering is the hypercompetitive market. According to the report, 65% of respondents said they want to use real-time rendering to reduce the time from concept to high-fidelity rendered images and animations. Perception of CostA curious statistic from the survey showed that 42% of respondents cited software costs as a barrier to real-time rendering. This particular result was surprising since real-time rendering software like Unreal Engine is currently offered for free as part of Unreal Studio, a suite of tools for importing CAD, 3ds Max, and SketchUp to Unreal Engine while retaining unit scale, metadata, assemblies, and other data specific to visualization processes. Unreal Studio is currently in a free beta period. Costs other than software were also of interest, with 27% of respondents citing concerns around hardware and personnel costs as a barrier to adoption of real-time rendering. While it's true that real-time rendering performs best on a strong system, rendering engines are designed to give a number of options for improving performance. For example, baking ambient occlusion on non-moving objects can save a lot of rendering time regardless of the hardware being used. It's features like these that make real-time rendering possible on a variety of hardware configurations. Training of personnel on real-time techniques is also a valid cost/time concern, but the creators of real-time tools have recognized this issue—Epic Games recently released the Unreal Engine Online Learning platform for this reason.  Big Data Takes the StageThe report tells us that 70% of respondents see the need to visualize Big Data, artificial intelligence, and analysis as drivers for adopting real-time rendering. This type of visualization is a logical continuation of the theme of using game engines for needs outside the game space. One company that has already started using real-time rendering in this way is National Renal Care, a kidney care organization with 65 locations throughout South Africa. When accountant Chris Commin, an avid gamer, needed a way to visualize the organization's geographical and financial relationships between their facilities, he explored Unreal Engine's features and came up with an innovative way to answer financial questions visually rather than with columns of numbers on a spreadsheet. Commin made use of Unreal Engine's Blueprint feature for reading in large bodies of data and converting them to visual cues for placement of markers in 3D space and pop-ups with information about individual facilities. While features like Blueprint were originally designed to automate game development functions, they work perfectly for processing large amounts of data and converting them to visual elements. As companies discover the use of tools like Unreal Engine Blueprint for processing large bodies of data, we can expect to see real-time technology being used in new ways to process geographical (GIS) data for mapping, sales/customer data for interactive analysis of buying patterns, and any number of other ways to show Big Data in visual media. Real-Time Rendering is Here to StayAlthough adopting new technology means learning new software and methodologies, the many advantages of real-time rendering make it a mainstay for companies wanting to stay ahead of the curve in today's competitive market. Pretty soon, real-time rendering won't be "something for the future" but instead, a staple of architectural visualization. This posting includes an audio/video/photo media file: Download Now |
| Uce Apartment / Iya Turabelidze studio Posted: 14 Oct 2018 08:00 PM PDT  © Mikhail Loskutov
 © Mikhail Loskutov Text description provided by the architects. This space is an image, a metaphor for a mental outlook change. A shift from the noise and speed of the everyday life to a clean and logical being. Simple, yet complete and deep as a glass of red wine.  Floor plan We wanted to win as much free space as possible and don't overload it with walls, constructions or furniture. This apartment is made for a woman, who is used to being in the middle of everyone's attention, knows how to handle it, same as she enjoys being alone. We've created a space where one could be both perfectly chilling solo and partying with a gang of never-sleeping friends.
We've discarded the old functional planning and created free space, separated only with glass walls and a hidden wardrobe system. The hidden doors, the skirting-boards on the white walls are great helpers to get a filling of a bigger space. The big panoramic windows provide an outlook on the vivid and shimmering green hills of Kyiv, and as a set off to the outside intensity of green juice colours, the whole colour pallet inside is soft and feminine.  © Mikhail Loskutov Materials: All materials in the apartment are also serving the common purpose to win more space for the apartment. The walls are painted white, except for the in the kitchen and hallway area, where we've used microcement to make the surface more practical. We've used the same covering on the bathroom floor. The guest bathroom is decorated with the marble pieces and the master bathroom is decked with tile from Portugal. The apartment owner is a huge wine enthusiast and lover, so we've used wine colours pallet from Rose to Bordo while deciding on the colours of the beetle chair by Gubi, the kitchen furniture and the master bathroom.  © Mikhail Loskutov Furniture: The furniture could be divided into 2 groups: 1) Scandinavian furniture (Gubi chairs, Bolia sofa, Menu tables, And tradition (Arne Jacobsen) bra. 2) Custom made furniture from Ukraine (Bed, hallway bench (custom design) dining table (custom design)  © Mikhail Loskutov This posting includes an audio/video/photo media file: Download Now |
| A' Interior Space, Retail and Exhibition Design Award Winners Posted: 14 Oct 2018 07:30 PM PDT  Courtesy of A' Design Awards A' Design Award & Competition, the world's largest and most diffuse international design awards featuring 1,962 Winners from 100 countries in 99 different design disciplines. Among the design world's many awards, the A' Design Award stands out for its exceptional scale and breadth; in 2015, over 1,000 different designs received awards, with all fields of design recognized by the award's 100 different categories. This year's edition is now open for entries; designers can register their submissions here. There are five different levels of distinction: Platinum, Gold, Silver, Bronze and Iron A' Design Awards, which are distributed annually in all design disciplines. Designers, companies, and institutions from all countries are invited annually to take part in the open call by nominating their best works, projects, and products for consideration. While there is no shortage of design awards out there, the A' Design Award stands out for its exceptional scale; with over 100 design categories. Alongside a category for Architecture, Building and Structure Design, the award features a number of categories that may be beneficial to those in the world of architecture—including categories for Good Industrial Design Award, Good Architecture Design Award, Good Product Design Award, Good Communication Design Award, Good Service Design Award, and Good Fashion Design Award. You can see all of the categories on their website here. The submission period for the A' Design Award closes on February 28th. You can register here. After the winners are announced on April 15th, a selection of architecture-related winners will be featured in a post on ArchDaily. Below, we've selected winners from previous years. You could also see more award-winning designs here. Beijing Morning Star Ballet Foundation / Ballet School /Winston Yeo Courtesy of A' Design Awards Skynet / Display Space / Kris Lin Courtesy of A' Design Awards Begonia Town / Sales Center / S.U.N and Hongtao Sun Courtesy of A' Design Awards Recrystallization / Movie Theater / Yang Wang and Lei Lee Courtesy of A' Design Awards New Design for DSK Bank / Flagship Branch / DA Architects Courtesy of A' Design Awards Into the World of Art / Gallery / Joy Chou Courtesy of A' Design Awards PONE Transparent Shell / Exhibition Space / PONE ARCHITECTURE Courtesy of A' Design Awards Brickkiln Folk Inn and Museum / Make Village Newborn / Kevin Hu Courtesy of A' Design Awards Qingtie CR Town Sales Office / Sales Office / Kot Ge - LSDCASA and Studio HBA Courtesy of A' Design Awards Kikuchi City Central Library / Municipal Public Library / Kazunobu Nakamura Courtesy of A' Design Awards Pile Array / Product Display / Joe Chan Courtesy of A' Design Awards Setsugekka Japanese Cuisine / Japanese Cuisine / Hip-pop Design Team Hangzhou Zhongshuge Bookstore / Bookstore / Xiang Li Courtesy of A' Design Awards Creative Incubators / Office Space / Rui Zhao Courtesy of A' Design Awards Roaringwild - Uniwalk / Retail Store / Kinson Leung Courtesy of A' Design Awards Jerry House / Residential : Private House / Arisara Chaktranon and Siriyot Chaiamnuay Courtesy of A' Design Awards Grand Gourmet Flagship Store / Shop / Zhenfei Wang Courtesy of A' Design Awards Progressive and Seclusive / Residential Public Space / Create + Think Design Studio Courtesy of A' Design Awards Existing White / Exhibition Design / Robin Wang Courtesy of A' Design Awards Kin Ju Japanese Resturant / Japanese Restaurant / CM Design Courtesy of A' Design Awards Beijing Jinmao Residence / Flat Villa / Tina Sheng and Li Yue Courtesy of A' Design Awards This posting includes an audio/video/photo media file: Download Now |
| Posted: 14 Oct 2018 07:00 PM PDT  © Tim Van De Velde
 © Tim Van De Velde Text description provided by the architects. In the industrialized port area of the small town of Izegem lies a somewhat odd monument with an art-deco front office and adjacent factory buildings. During the interbellum, for over a decade the "Eperon d'Or" factory received international attention for its luxurious shoe design and production.  © Tim Van De Velde After years of neglect, local authorities decide to revitalize the complex by refurbishing it to the national shoe and broom museum. This art deco pearl stands solely amidst the non-attractive industrialized heavy-duty context. This tension triggered us to treat the monument with a passive-aggressive attitude.  © Tim Van De Velde Both the industrial memory and context provided us with convincing arguments to not to over treat the monument with encompassing care and soft handling, too often a default approach when heritage is at stake We revalued all its formal and expressive qualities by also challenging them with new instigators: a new playful trajectory through the buildings, a small window bay theatre at the backside and a spacious rooftop extension.  © Tim Van De Velde A museum visit starts in the former logistic inner street that lends itself as a convenient traffic exchanger. From the inner street you take the elevator to the panoramic roof extension and then swirl downwards through sequences of restored and new spaces that host the exhibitions. You end up where you started: in the former garage.  © Tim Van De Velde The rooftop extension proofed to be an indispensible extra 'white space' liberating the museum curator from the overwhelming art deco interiors and providing a good overview on the city's mainly industrial skyline. This shoebox like volume was put set back so not to disturb the building's typical silhouette but rather to act as a new counter-partner challenging the past into the future. The box is cladded with a golden mesh on red lacquered steel, referring to the art deco era and textile history of the region.  © Tim Van De Velde  Section  © Tim Van De Velde The small blue theatre looks out over the adjacent factories and industrial landscape linking the museum with its own contextual heritage. Amidst the factory a new terrace offers openness, light, orientation and outdoor exhibition possibilities. The refurbishment offers the visitor both a variety of spatial experiences; a good contextual understanding and a pleasant walk through the museum collection.  © Tim Van De Velde This posting includes an audio/video/photo media file: Download Now |
| DIY House / Reset Architecture Posted: 14 Oct 2018 06:00 PM PDT  © Stijn Poelstra
 © Stijn Poelstra Text description provided by the architects. Designing for self-builders requires simplicity in construction and building methods, but also creates possibilities to be very specific and explicit in space and presence. Anne and Merijn bought a building plot in 2013 in the new development area Vossenpels near Nijmegen. Without much help from construction workers, they have built a house themselves. It took them a few years but the result is convincing, with great precision in the details, it is built to perfection. We look back with great pleasure on the collaboration in the design process, Anne and Merijn have self-consciously shaped their own living conditions.  © Stijn Poelstra  Ground Floor Plan  © Stijn Poelstra  First Floor Plan This is mainly expressed in the floor plans that have been designed in dialogue. Anne is an art historian, the conversation about the appearance of the house and composition of facades arose from art references such as the work of Mark Rothko and Josef Albers. The house is situated on a prominent spot on an old country road that provides direct access to the new residential area from the dike of the river Waal. We decided that the house should give special meaning to this position and mark the entrance of the new urban area and express the transition of farmland to housing. But in an environment of individual private houses, that seem to be involved in a competition of self-expression, special meaning easily becomes an overstatement.  © Stijn Poelstra We, therefore, had to have an ambiguous design approach; being minimalistic and expressive simultaneously. So the house became a simple cube. The proportions are changed by dividing the volume horizontal, making the house look lower and less significant. Over 3.5 meters, the façade finish consists of a black surface. The dark plates ensure that there occurs a night and day contrast, the height of the building seems to fluctuate. We obviously knew that Anne and Merijn would paint the house themselves. This made it possible to do something expressive with color. For us, the image of a misty farmland river landscape where colors flow into each other became a narrative representing the former scenery.  Section 1  Section 2 So we proposed to paint 50 layers of wooden cladding in a gradient of different shades of green. There were some laughs about 50 shades but they agreed and accomplished the enormous amount of work themselves. The ground floor plan of this family house is a loft-like floor plan around an open staircase that provides the space with plenty of daylight. Openness in the plan is combined with designing specific spaces for the different living conditions. The relationship with outside through facade openings helps to create individual spaces within the open plan. The first floor has a very logical structure organized around the atrium into three bedrooms and a bathroom.  © Stijn Poelstra This posting includes an audio/video/photo media file: Download Now |
| Terrazzo Floors Bring History to Life Posted: 14 Oct 2018 05:30 PM PDT ![Terrazzo & Marble Supply Companies transformed the Duke Ellington School of the Arts in DC with poured-in-place epoxy terrazzo. [Photo: Courtesy of Terrazzo & Marble Supply Companies]](https://images.adsttc.com/media/images/5bbf/9c30/f197/cc3c/6a00/0439/medium_jpg/open-uri20181011-4425-mds1hb.jpg?1539284002 "Terrazzo & Marble Supply Companies transformed the Duke Ellington School of the Arts in DC with poured-in-place epoxy terrazzo. [Photo: Courtesy of Terrazzo & Marble Supply Companies]") Terrazzo & Marble Supply Companies transformed the Duke Ellington School of the Arts in DC with poured-in-place epoxy terrazzo. [Photo: Courtesy of Terrazzo & Marble Supply Companies] Terrazzo flooring, with its mosaic style of pieces of marble or granite set in polished concrete or epoxy resin, is known for its flexibility and remarkable durability. So it's no wonder the method has been around for centuries. With proper care during installation and use, it's also possible for terrazzo floors to last a number of decades. "There are terrazzo floors that were installed in the early 1900s that are still nice looking jobs," says James Bateman, terrazzo division manager of Terrazzo & Marble Supply Companies. Indeed, the style is known to some as 'forever floors,' a nod to its history and longevity. ![[Photo: Courtesy of Terrazzo & Marble Supply Companies]](https://images.adsttc.com/media/images/5bbf/9c51/f197/cc3c/6a00/043c/medium_jpg/open-uri20181011-4425-1u04nei.jpg?1539284039 "[Photo: Courtesy of Terrazzo & Marble Supply Companies]") [Photo: Courtesy of Terrazzo & Marble Supply Companies] A Colorful HistoryReferences to terrazzo date all the way back to ancient times, but the origins of today's terrazzo are modeled after 20th-century Italian work. Italian masonry workers used to quarry marble and granite using dynamite. After the explosions, many marble pieces would crumble and fall to the side of the quarry, where workers gathered them and mixed the chips with cement. They poured the mixture on their terrazza (or terrace, in Italian) and ground the material with carborundum blocks to expose the marble inside. "At the time, marble was reserved for the Italian aristocracy—certainly not the laborers at the marble quarries," Meyer says. But terrazzo gave the working class access to a higher design aesthetic. As people migrated from Europe to the States, traditional terrazzo workers brought the trade with them, though the industry has certainly evolved over the years. Original terrazzo was set in cement, but now 90% of terrazzo floors are made with an epoxy resin, Bateman says. ![[Photo: Courtesy of Terrazzo & Marble Supply Companies]](https://images.adsttc.com/media/images/5bbf/9c3b/f197/cc3c/6a00/043a/medium_jpg/open-uri20181011-4425-1sfxifn.jpg?1539284017 "[Photo: Courtesy of Terrazzo & Marble Supply Companies]") [Photo: Courtesy of Terrazzo & Marble Supply Companies] A Long LifeWhile Terrazzo flooring may carry a higher upfront cost, its durability and life expectancy often make it the most affordable option, in the long run, Bateman says. When you add up the life cycle costs for carpet, porcelain, or other flooring materials, terrazzo typically ends up saving you money. "It's definitely the Cadillac of flooring options," he says. "A lot of people see that initial price tag and think, 'Oh, wow. That's five times the value of carpet.' But you're probably going to replace that carpet six times in the life of one terrazzo installation." Terrazzo's resilient flooring solutions are used in high-traffic areas like schools, stadiums, and airports. Fortunately, they're also very easy to clean—warm water and a bucket is all you need. And because the terrazzo is poured in place, the flooring is one seamless surface, alleviating hygiene issues. "With Terrazzo, unlike many hard surface materials such as porcelain or ceramic tiles, it doesn't have grout joints, which is where bacteria and dirt collect," Meyer says. ![Terrazzo's durable floors in Time Inc.'s headquarters. [Photo: Courtesy of Terrazzo & Marble Supply Companies]](https://images.adsttc.com/media/images/5bbf/9c46/f197/cc3c/6a00/043b/medium_jpg/open-uri20181011-4425-hqsy4k.jpg?1539284029 "Terrazzo's durable floors in Time Inc.'s headquarters. [Photo: Courtesy of Terrazzo & Marble Supply Companies]") Terrazzo's durable floors in Time Inc.'s headquarters. [Photo: Courtesy of Terrazzo & Marble Supply Companies] A Sustainable DesignTerrazzo & Marble manufactures its own epoxy that acts as a binder holding the chips together. With the evolution of their epoxy resin technology, the company is able to incorporate materials like aluminum, zinc, and brass as well as exotic aggregates like mother-of-pearl, which consists of crushed seashells. "There's a lot of color and design flexibility because Terrazzo is poured in place. It's limited only by the imagination," Meyer says. Aggregate options also include recycled products like glass, porcelain, marble, and even beer bottles. "We take a lot of things that would be put into the waste stream that we can reclaim and reuse in a terrazzo floor," Bateman says. Most of their epoxy products also emit zero VOCs, so you don't have to worry about indoor air quality. Just as the 20th-century Italian workers recycled materials from quarries, some floorings are still made from material scraps. Beyond adding whatever you want to the floor, terrazzo is also customizable in terms of color. "You can select any paint manufacturer's color from their fan deck and we'll match the epoxy to it. We have people who will send us a piece of fabric and say, 'Hey, can you match this?'" Bateman says. "We can match virtually any color under the sun." Learn more about Terrazzo & Marble Supply Companies. Originally published on Green Building & Design. Author: Julia Stone This posting includes an audio/video/photo media file: Download Now |
| Posted: 14 Oct 2018 05:00 PM PDT  © Farshid Nasrabadi
 © Farshid Nasrabadi Text description provided by the architects. V villa is located in country area of Maku on the mountain slopes with spectacular views over natural sceneries around. This project was built to provide a cosy retreat for a rest far from city uproar.  © Farshid Nasrabadi The first challenge of designing this project was the relationship between inner and outer spaces and the dialogue between open and closed ones. The in-out conflict is defined in a way that architecture owns a particle of the world and closures it, so two phenomena are created: inner and outer space. The project is considered as a seek to abolish human-nature limits and to create in-out coherence, and as an attempt to enrich spatial requirements as well as creating dynamics in form.  Ground floor  First floor The building is located in a district with virgin nature and domination of nature is obvious at the first glance. The volumes are independent as well as combined and the simplicity of forms improves humility about mysterious nature. Stretched terrace, held by V columns is completed by linear railing to maximize transparency and to dominate over green plains around.  © Farshid Nasrabadi Another challenge was the 45-square-meter gross area; Ground floor connected to the earth by a platform is dedicated to living room and kitchen and the first floor includes 2 bedrooms and a bathroom. The two levels are connected by a stairway which is cantilevered to solve the gross area challenge and to meet spatial requirements as well as playing a fundamental role in shaping the form of the building. The upper stairway leads to the roof which is functioning as an observation space over natural sceneries. A pool is added to the eastern part of the platform to improve natural ventilation in the living room.  © Farshid Nasrabadi Another focal point is the choice of the finishing materials for the facade. These are intended to give light and identity to the building; Basalt stone-used in masonry historical buildings of this district- is utilized as a vernacular material in composition with wood. Large picture windows are added to permit fluidity and transparency to the environment.  Section A-A This posting includes an audio/video/photo media file: Download Now |
| Posted: 14 Oct 2018 04:00 PM PDT  © Hiroyuki Oki
 © Hiroyuki Oki Text description provided by the architects. T House was designed for a three genegration family with six members, consists of spouse husband and wife owner, their 2 children, the wife's mother and sister.  © Hiroyuki Oki The house was built in a quadrangle shape plot in Binh Duong, Vietnam, with the front elevation faced to the West. Its façade was devided into 7 solid walls connected by glasses and louvers to admit the natural lightand ventilation into the house as much as possible.  © Hiroyuki Oki  Sections  © Hiroyuki Oki Additionally, the owner had shared that she has been afraid of being alone, she would like everyone in the family could easily see each other when staying at home. Hence, we alternated the private spaces and the common spaces by putting two green voids into 2 solid blocks, in order to connect every space in the house to increase the family's interaction.  © Hiroyuki Oki This posting includes an audio/video/photo media file: Download Now |
| Wood and Concrete: Impressive Examples in Indian Architecture Posted: 14 Oct 2018 03:30 PM PDT  © Shamanth Patil J. Greatly influenced by the modern movement--and in particular the presence of Le Corbusier--contemporary Indian architecture reflects a mixture of traditional and western references. Using mainly local materials such as brick, concrete and stone, Indian buildings stand out with their high visual impact and a assertive heaviness. Because of its scarcity, wood is mostly used in details and finishes rather than as main structures. Some of the most successful architects in India have managed to gracefully balance the use of concrete and wood in a gentle gesture that evokes elegance and rough textures. NEST / Neogenesis + Studi0261 © The fishy project, Ishita Sitwala Outhouse / MISA ARCHITECTS © Zurich Shah Brick House / Architecture Paradigm © Anand Jaju The Open House / MODO Designs © Radhika Pandit Jungalow House / Neogenesis+Studi0261 © The fishy project, Ishita Sitwala Arvindh and Priya's House / Biome Environmental Solutions © Vivek Muthuramalingam DIYA / SPASM Design Architects © Photographix - Sebastian & Ira Jetavan / Sameep Padora & Associates © Edmund Sumner Retreat in the Sahyadris / Khosla Associates © Shamanth Patil J. Hamsa's House / Biome Environmental Solutions © Vivek Muthuramalingam Shreyas Retreat / The Purple Ink Studio © Shamanth Patil J. This posting includes an audio/video/photo media file: Download Now |
| AD Classics: New Museum / SANAA Posted: 14 Oct 2018 03:00 PM PDT .jpg?1463595741 "© Laurian Ghinitoiu") © Laurian Ghinitoiu This article was originally published on July 22, 2016. To read the stories behind other celebrated architecture projects, visit our AD Classics section. .jpg?1463595777 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Based in Tokyo, SANAA (Sejima and Nishizawa and Associates) was established by Kazuyo Sejima and Ryue Nishizawa in 1995. These two architects work collaboratively on SANAA projects while concurrently running their own well-established individual practices, all housed within the same building. Staff members overlap across the firms, sharing communal spaces in the largely open-plan office; a borderless working environment which acts as a metaphor for their characteristically transparent architectural style. This style is, in part, a reaction against the opaque buildings found on the streets of Tokyo, and has led to comparisons being drawn with the skeletal structures of Mies van der Rohe.[2] .jpg?1463595824 "© Laurian Ghinitoiu") © Laurian Ghinitoiu At the time of being awarded the New Museum commission, SANAA had two other gallery projects underway: the 21st Century Museum of Contemporary Art in Kanazawa, Japan, and the Glass Pavilion at the Toledo Museum of Art in Toledo, Ohio. The latter was the firm's first project in America, and their relative international obscurity was in keeping with New Museum's mission to promote undiscovered artists.[3] Having received global critical acclaim for these projects and for later works, SANAA would go on to win the Pritzker Prize in 2010. .jpg?1463596102 "© Laurian Ghinitoiu") © Laurian Ghinitoiu SANAA's design for the New Museum comprises seven boxes of varying proportions, vertically stacked around a central core. The architects avoided using the maximum square footage permitted by the zoning envelope, affording themselves the space to shift these boxes off-center and create a dynamic interplay between the volumes.[4] The unique plan of the building was intended to create a distinct architectural identity that would reflect the experimental philosophy of the clients.[5] The programmatic elements of the museum are spread across its ten stories; housed within the boxes are galleries, offices, events spaces, a café, a theater, an education center, and two mechanical floors. SANAA's architecture typically generates a dialogue with the program, as Nishizawa summarized: "We use the function to create the building, but also the building creates the function."[6] This reciprocity is evident at the New Museum, where an unused space in the air shaft between the third and fourth floors was converted into a micro-gallery measuring just five feet by eight feet but with a ceiling height of thirty-five feet. .jpg?1463595909 "© Laurian Ghinitoiu") © Laurian Ghinitoiu One of SANAA's primary goals for the project was to create an approachable and inviting museum.[7] In order to achieve this, they installed a glass wall at street level to physically instill a sense of openness and transparency. The boundary between the street and the museum is dissolved by this membrane, encouraging passers-by to enter. The continuation of the concrete sidewalk to the concrete floor of the museum further adds to this effect. The glass panels of the wall are sunk into the floor and extend into the ceiling, thereby masking their frames and avoiding any sense of division which might be created by these borders. .jpg?1463595866 "© Laurian Ghinitoiu") © Laurian Ghinitoiu The art loading bay is exposed by the glass wall, revealing the back-of-house activity of the museum and implying transparency on the part of the institution itself. The interior also features glass walls, such as that which separates the gallery at the back of the first floor from the lobby and café at the front. Thus, the reach of the museum extends beyond the building, with the art on display visible even to those on the street. The use of glass walls was facilitated by the structure of the building, which relies on steel trusses to bear the load of the boxes. The trusses also allow the galleries to exist column-free, providing an unobstructed and highly adaptable exhibition space. In certain places, the trusses are exposed to become decorative features, with diagonal struts bisecting the windows. Elsewhere, the trusses are carefully positioned to avoid obscuring the skylights. .jpg?1463595919 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Since the gallery walls are not load-bearing, the architects were able to create a recess between the walls and the floor which avoids the typically imperfect meeting of the two. This architectural detail had been previously employed by SANAA in their gallery at Kanazawa.[8] At the New Museum, these floating walls echo the weightlessness suggested by the overall structure, which seemingly levitates over its glass storefront. Maximizing exhibition space was a key consideration in the new design, particularly given the cramped confines of the New Museum's previous home. Circulation space was reduced to increase the size of the galleries; the staircase which runs between the third and fourth floors is just three feet wide, the minimum allowed by the city's building regulations. Here, the narrow width of the staircase and the extreme height of the ceiling combine to create a dramatic spatial experience. .jpg?1463596094 "© Laurian Ghinitoiu") © Laurian Ghinitoiu The galleries are almost devoid of windows; wall space was prioritized over fenestration. The shifting of the building's component boxes was a solution devised to allow natural light into the galleries through skylights in the resulting protrusions. At night, the artificial light produced inside the galleries spills out through the skylights, diffused by the scrim coverings and softly up-lighting the building. The ceiling structure of the galleries was left exposed to allow art to be hung from above, again providing greater and more flexible exhibition space. .jpg?1463595981 "© Laurian Ghinitoiu") © Laurian Ghinitoiu SANAA's architectural projects consistently strive to foster a relationship between the building and its surroundings, and the New Museum is no exception. In the original designs, the building was broader and shorter than it stands now. After spending time in New York, however, the architects refined the composition of the building to become slimmer and taller in response to the architectural landscape of the city.[9] Indeed, the steps formed by the shifted structural boxes are reminiscent of the setback skyscrapers which typify the New York skyline. The cityscape is brought into the museum through panoramic windows on the upper floors, which interrupt the visitor experience to knit the city and the museum together. .jpg?1463595888 "© Laurian Ghinitoiu") © Laurian Ghinitoiu The building also reflects its immediate built context through the use of industrial materials, mirroring what the architects described as the "roughness" of the Bowery.[10] The exterior is clad in two layers of industrial aluminum mesh, creating a shimmering, textured façade. Though steel mesh is more commonly used in construction, aluminum was chosen as a brighter and more translucent material which would lend a sense of lightness. The mesh softens the edges of the building, allowing it to melt into its surroundings and adding to its transparency. .jpg?1463596049 "© Laurian Ghinitoiu") © Laurian Ghinitoiu When the New Museum opened its doors at the end of 2007, it was praised by the architectural press for the striking minimalism of its design. The new building was certainly successful in raising the profile of the New Museum, which welcomed 100,000 visitors through its doors within the first two months of opening. The architects did not completely escape criticism, however, with several commentators noting the negligible amount of natural light provided by the skylights, which is in any case overpowered by the fluorescent strip lighting.[11] .jpg?1463595992 "© Laurian Ghinitoiu") © Laurian Ghinitoiu The decision to construct the New Museum on the Bowery was an unconventional one, given the history of the neighborhood. It had been an infamous hotspot for drug use throughout the seventies and was still run-down thirty years later. In recent years, however, the Bowery has enjoyed a period of regeneration for which the museum can take a great deal of credit. The street now boasts a boutique hotel, an organic supermarket, and a diverse collection of galleries and art spaces.[12] The New Museum, both in terms of the building and the institution it houses, stands as a symbol of the transformative power that both art and architecture can have upon society. .jpg?1463595762 "© Laurian Ghinitoiu") © Laurian Ghinitoiu References [1] "New Museum: About". Accessed 20 June, 2016. [access]
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| Cheonggye-Ri House / JMY architects Posted: 14 Oct 2018 02:00 PM PDT  © Joonhwan Yoon
 © Joonhwan Yoon Ganjeolgot  © Joonhwan Yoon The Flat Land with a Commonplace View on a Coastal Hill Surrounded by Greens  © Joonhwan Yoon  Site Plan  © Joonhwan Yoon Three questions according to the site conditions and the client's requirements:  © Joonhwan Yoon A Shape Created by Space  © Joonhwan Yoon Forming Relations between Nature and Artificiality  © Joonhwan Yoon A Space for Rest  © Joonhwan Yoon This posting includes an audio/video/photo media file: Download Now |
| Asian Games Village Residence III / Vir.Mueller Architects Posted: 14 Oct 2018 12:00 PM PDT  © Niveditaa Gupta
 © Niveditaa Gupta Text description provided by the architects. After two decades of practice and designing projects for 'others', 288 distills - in an undiluted form - the design principles, material sensibilities, phenomenal aspirations and tactile experiments of virmueller architects.  © Niveditaa Gupta  Section A  © Niveditaa Gupta This home for a family introspects on that fundamental quality of intimacy that constitutes the spatial embrace for a family; in lieu of bombast, this is an architecture of understatement - perhaps only revealed in the attention to detail.  © Niveditaa Gupta This posting includes an audio/video/photo media file: Download Now |
| CUBO’s Entrance Pavilion Seamlessly Integrates Aarhus City’s Old Town Into The Modern City Posted: 14 Oct 2018 07:00 AM PDT  Courtesy of CUBO CUBO, a local architecture firm from Aarhus City, Denmark, has designed the main entrance pavilion for the firm's native city which will connect two existing elements of Aarhus - the Botanical Gardens and the Old Town. The building is both inviting and welcoming to residents and visitors, alike, providing the city with a gathering space, meeting point, and information hub. Both the Botanical Gardens and Old Town are major attractions for visitors, playing an integral role in the city's international reputation. CUBO's pavilion seeks to enhance and add to what already exists by sensitively integrating the structure in the existing landscape.  Courtesy of CUBO Early 20th-century architect and furniture designer, Anton Rosen, designed an existing circular pavilion that stands prominently on the site. The new building will not deter from the historic importance and visual impact of Rosen's building, but rather, provide additional space for visitors to gain information about the city and its attractions while admiring the adjacent Rosen pavilion.  Courtesy of CUBO By embracing the area's existing character, the CUBO design adds to the architectural diversity of Aarhus City. Within, visitors can familiarize themselves with aspects of Danish culture. Local craftsmanship is embodied in the design of the new pavilion's interior through the use of specific, carefully selected materials. The design may be modern, but the architectural details speak to the area's rich history.  Courtesy of CUBO News via CUBO This posting includes an audio/video/photo media file: Download Now |
| Greater Goods Coffee / Michael Hsu Office of Architecture Posted: 14 Oct 2018 06:00 AM PDT  © Chase Daniel
 © Chase Daniel Text description provided by the architects. Greater Goods is an adaptive reuse project, converting an existing automotive warehouse into a modern café, roastery, and training facility located in East Austin. We sought to preserve the existing steel structure and use the gabled profile of the trusses to vault the roof.  © Chase Daniel Translucent polycarbonate panels along the north wall and skylight allow for natural light to fill the coffee shop. The design behind the space revolved around a central bar which allows patrons to experience any side of the café. By elevating and breaking up the bar into smaller volumes, it encourages interaction between the guests and baristas.  © Chase Daniel  Floor Plan  © Chase Daniel A gabled seating niche in the back is framed with a steel window for visibility into the roaster. The rich material palette contrasted with the character of the original building create a truly unique experience.  © Chase Daniel This posting includes an audio/video/photo media file: Download Now |
| School Architecture: 70 Examples in Plan and Section Posted: 14 Oct 2018 05:00 AM PDT  For architects, schools are often complex structures to design. They must provide a variety of spaces for education, and also consider sports and recreational activities. But beyond its size or surface, the greatest challenge is to design an area that fosters a positive pedagogical environment for children. Below, a selection of 70 school projects with their drawings to inspire your proposals for learning campuses. Lishin Elementary School Library / TALI DESIGN © Hey!Cheese  Cortesía de TALI DESIGN  Cortesía de TALI DESIGN Ratchut School / Design in Motion © Ketsiree Wongwan  Cortesía de Design in Motion  Cortesía de Design in Motion Skovbakke School / CEBRA © Adam Mørk  Cortesía de CEBRA  Cortesía de CEBRA Schoolgarden "De Buitenkans" / RO&AD Architecten © Katja Effting  Cortesía de RO&AD Architecten  Cortesía de RO&AD Architecten Glassell School of Art / Steven Holl Architects © Richard Barnes  Cortesía de Steven Holl Architects  Cortesía de Steven Holl Architects Astronomical Park of Zhenze High School / Specific Architects + Unit Architects <a href='http://'>undefined</a>  Cortesía de Specific Architects + Unit Architects  Cortesía de Specific Architects + Unit Architects Secondary School in Cabrils / Josep Val Ravell + Arnau Solé Simón © Simon Garcia  Cortesía de Josep Val Ravell + Arnau Solé Simón  Cortesía de Josep Val Ravell + Arnau Solé Simón School of Alfa Omega / RAW Architecture © Eric Dinardi  Cortesía de RAW Architecture  Cortesía de RAW Architecture School Extension La Fontaine / LT2A © Gilles Ribero  Cortesía de LT2A  Cortesía de LT2A School in Port / Skop © Simon von Gunten  Cortesía de Skop  Cortesía de Skop The French International School of Beijing / Jacques Ferrier Architecture © Luc Boegly  Cortesía de Jacques Ferrier Architecture  Cortesía de Jacques Ferrier Architecture Fênix / Arquitetura Nacional © Marcelo Donadussi  Cortesía de Arquitetura Nacional  Cortesía de Arquitetura Nacional Marlborough Primary School / Dixon Jones © Paul Riddle  Cortesía de Dixon Jones  Cortesía de Dixon Jones Hangzhou Gudun Road Primary School / GLA © Su Shengliang  Cortesía de GLA  Cortesía de GLA Agricultural School Bella Vista / CODE © Andreas Rost + CODE  Cortesía de CODE  Cortesía de CODE Daishan Primary School / ZHOU Ling Design Studio © HOU Bowen  Cortesía de ZHOU Ling Design Studio  Cortesía de ZHOU Ling Design Studio Ivanhoe Grammar Senior Years & Science Centre / McBride Charles Ryan © John Gollings  Cortesía de McBride Charles Ryan  Cortesía de McBride Charles Ryan Bamboo Sports Hall for Panyaden International School / Chiangmai Life Construction © Alberto Cosi  Cortesía de Chiangmai Life Construction  Cortesía de Chiangmai Life Construction Elite English Training School / B.L.U.E. Architecture Studio © Ruijing Photo  Cortesía de B.L.U.E. Architecture Studio  Cortesía de B.L.U.E. Architecture Studio Ruyton Girls' School / Woods Bagot © Michael Downes  Cortesía de Woods Bagot  Cortesía de Woods Bagot Bio-climatic Preschool / BC architects Cortesía de BC architects  Cortesía de BC architects  Cortesía de BC architects BAPS Swaminarayan Girls Residence School / Kapadia Associates © Piyush Rana photography  Cortesía de Kapadia Associates  Cortesía de Kapadia Associates Wenzhou Dalton Elementary School / FAX ARCHITECTS Cortesía de FAX ARCHITECTS  Cortesía de FAX ARCHITECTS  Cortesía de FAX ARCHITECTS The Saint George College's Gymnasium / Gonzalo Mardones V Arquitectos © Nico Saieh  Cortesía de Gonzalo Mardones V Arquitectos  Cortesía de Gonzalo Mardones V Arquitectos Oak House High School Building / Trasbordo Arquitectura © Enrique Cabeza de Vaca  Cortesía de Trasbordo Arquitectur  Cortesía de Trasbordo Arquitectur Music School / BAROZZI VEIGA © Simon Menges  Cortesía de BAROZZI VEIGA  Cortesía de BAROZZI VEIGA Tjørring School / FRIIS & MOLTKE Architects Cortesía de FRIIS & MOLTKE Architects  Cortesía de FRIIS & MOLTKE Architects  Cortesía de FRIIS & MOLTKE Architects Xiashan Primary School / STI Studio from the Architectural Design & Research Institute of Zhejiang University © Chunliu Yu  Cortesía de STI Studio from the Architectural Design & Research Institute of Zhejiang University  Cortesía de STI Studio from the Architectural Design & Research Institute of Zhejiang University Primary School Gartenhof / BUR Architekten © Simon Menges  Cortesía de BUR Architekten  Cortesía de BUR Architekten Collège Maxime Javelly / Céline Teddé & Jérôme Apack architectes © Julien Lanoo  Cortesía de Céline Teddé & Jérôme Apack architectes  Cortesía de Céline Teddé & Jérôme Apack architectes Bedales School Art and Design / Feilden Clegg Bradley Studios © Hufton + Crow  Cortesía de Feilden Clegg Bradley Studios  Cortesía de Feilden Clegg Bradley Studios BuBaO Sint-Lievenspoort / evr-Architecten + Callebaut Architecten © Stijn Bollaert  Cortesía de evr-Architecten + Callebaut Architecten  Cortesía de evr-Architecten + Callebaut Architecten Tiantai No.2 Primary School / LYCS Architecture © Yu Xu  Cortesía de LYCS Architecture  Cortesía de LYCS Architecture Eco Moyo Education Centre- Classroom and Library / The Scarcity and Creativity Studio © SCS  Cortesía de The Scarcity and Creativity Studio  Cortesía de The Scarcity and Creativity Studio Axis Pramiti / The Purple Ink Studio © Shamanth Patil J  Cortesía de The Purple Ink Studio  Cortesía de The Purple Ink Studio Akademeia High School in Warsaw / Medusagroup © Juliusz  Cortesía de Medusagroup  Cortesía de Medusagroup Primary School La Couyere / Atelier 56S Cortesía de Atelier 56S architectes  vía Atelier 56S  vía Atelier 56S Schools in Africa and mango trees / WAYAiR Foundation Cortesía de WAYAiR Foundation  Cortesía de WAYAiR  Cortesía de WAYAiR Copenhagen International School Nordhavn / C.F. Møller © Adam Mørk  Cortesía de C.F. Møller  Cortesía de C.F. Møller School Campus De Vonk - De Pluim / NL Architects © Marcel van der Burg  Cortesía de NL Architects  Cortesía de NL Architects Simone Veil's group of schools in Colombes / Dominique Coulon & associés © Eugeni Pons  Cortesía de Dominique Coulon & associés  Cortesía de Dominique Coulon & associés Blue School Middle School / PellOverton Architects © Mikiko Kikuyama  Cortesía de PellOverton Architects  Cortesía de PellOverton Architects School Jean-Monnet / Dietrich | Untertrifaller Architects + CDA Architectes © Julien Lanoo  Cortesía de Dietrich | Untertrifaller Architects + CDA Architectes  Cortesía de Dietrich | Untertrifaller Architects + CDA Architectes Lycee Schorge Secondary School / Kéré Architecture © Iwan Baan  Cortesía de Kéré Architecture  Cortesía de Kéré Architecture Montserrat Vayreda School / BAAS Arquitectura © Adrià Goula  Cortesía de BAAS Arquitectura  Cortesía de BAAS Arquitectura Tanpo Solar School / Csoma's Room Foundation © Balázs Szelecsényi  Cortesía de Csoma's Room Foundation  Cortesía de Csoma's Room Foundation COF Outreach Village Primary Schools / Studio FH Architects © Will Boase  Cortesía de Studio FH Architects  Cortesía de Studio FH Architects St. Nicholas School / aflalo/gasperini arquitetos © Ana Mello  Cortesía de aflalo/gasperini arquitetos  Cortesía de aflalo/gasperini arquitetos Highgate Primary School / iredale pedersen hook architects Cortesía de iredale pedersen hook architects  Cortesía de iredale pedersen hook architects  Cortesía de iredale pedersen hook architects Bann Huay San Yaw- Post Disaster School / Vin Varavarn Architects © Spaceshift Studio  Cortesía de Vin Varavarn Architects  Cortesía de Vin Varavarn Architects InsideOut School / Andrea Tabocchini & Francesca Vittorini © Andrea Tabocchini  Cortesía de Andrea Tabocchini & Francesca Vittorini  Cortesía de Andrea Tabocchini & Francesca Vittorini Augustinianum / architecten|en|en + Studio Leon Thier © BASE Photography  Cortesía de architecten|en|en + Studio Leon Thier  Cortesía de architecten|en|en + Studio Leon Thier Extension of the Charlie Chaplin School Complex / SAM architecture © Charly Broyez  Cortesía de SAM architecture  Cortesía de SAM architecture School of Arts Calaisis / ARC.AME Cortesía de ARC.AME  Cortesía de ARC.AME  Cortesía de ARC.AME Cascade High School Expansion / Neumann Monson Architects © Integrated Studio  Cortesía de Neumann Monson Architects  Cortesía de Neumann Monson Architects Chiryu Afterschool / MOUNT FUJI ARCHITECTS STUDIO Cortesía de MOUNT FUJI ARCHITECTS STUDIO  Cortesía de MOUNT FUJI ARCHITECTS STUDIO  Cortesía de MOUNT FUJI ARCHITECTS STUDIO Dos Plátanos School / Murmuro © Pedro Nuno Pacheco  Cortesía de Murmuro  Cortesía de Murmuro Min Tu Won School / Orbe Architecture + Estudio Cavernas + INDA + W.E. Wattanachote + Lasavanic © Juan Cuevas  Cortesía de Orbe Architecture + Estudio Cavernas + INDA + W.E. Wattanachote + Lasavanich  Cortesía de Orbe Architecture + Estudio Cavernas + INDA + W.E. Wattanachote + Lasavanich Children Village / Rosenbaum + Aleph Zero © Leonardo Finotti  Cortesía de Rosenbaum + Aleph Zero  Cortesía de Rosenbaum + Aleph Zero Animo South Los Angeles High School / BROOKS + SCARPA Cortesía de BROOKS + SCARPA  Cortesía de BROOKS + SCARPA  Cortesía de BROOKS + SCARPA New Jerusalen de Miñaro Primary School / Semillas © Eleazar Cuadros  Cortesía de Semillas  Cortesía de Semillas Maria Montessori Mazatlán School / EPArquitectos + Estudio Macías Peredo © Onnis Luque  Cortesía de EPArquitectos + Estudio Macías Peredo  Cortesía de EPArquitectos + Estudio Macías Peredo 120-Division School / WAU Design © MA Minghua + ZHAN Changheng  Cortesía de WAU Design  Cortesía de WAU Design Lanka Learning Center / feat.collective © Barbara Vetter + Vincent Heiland  Cortesía de feat.collective  Cortesía de feat.collective Rehabilitation of an old School for the Flamenco Interpretation Center / García Torrente Arquitectos © Fernando Alda  Cortesía de García Torrente Arquitectos  Cortesía de García Torrente Arquitectos Singapore International School of Bangkok - Phase II / Plan Architect © Panoramic Studio  Cortesía de Plan Architect  Cortesía de Plan Architect School and Community Center "B³ Gadamerplatz" / Datscha Architekten © Stephan Baumann  Cortesía de Datscha Architekten  Cortesía de Datscha Architekten School Hoek / ebtca architecten © Dennis De Smedt  Cortesía de ebtca architecten  Cortesía de ebtca architecten Hall of Literature & Garden at Taizhou High School / Architectural Design & Research Institute of SCUT © Li Yao  Cortesía de Architectural Design & Research Institute of SCUT  Cortesía de Architectural Design & Research Institute of SCUT Rural School Alto del Mercado / Ana Elvira Vélez + Juan B. Echeverri © Isaac Ramírez Marín  Cortesía de Ana Elvira Vélez + Juan B. Echeverri  Cortesía de Ana Elvira Vélez + Juan B. Echeverri This posting includes an audio/video/photo media file: Download Now |
| Posted: 14 Oct 2018 02:00 AM PDT  © Jack Hobhouse
 © Jack Hobhouse Text description provided by the architects. Paxton House is an innovative housing solution on a complex site, for Joseph Homes in Croydon, South London. Forty-three dwellings and a series of shared spaces have been carefully crafted to occupy an existing concrete-framed building, a former office block which had been left vacant and was being used by squatters.  © Jack Hobhouse Avoiding a traditional central corridor arrangement, the architects have achieved a very different type of apartment block. Through the design of an external circulation strategy, every single apartment has been created as dual aspect, with a south facing living space.  © Jack Hobhouse Along the building's tight perimeter, each room on the south facing elevation is a living space which makes use of an angled balcony that provides privacy and directs views over nearby train tracks. Here, acetylated timber ensures the sustainable longevity of the cladding. This tightly set, animated facade naturally led to an angled balustrade design, ensuring privacy from neighbouring apartments and adjoining gardens alike, while maximising vistas from inside.  © Jack Hobhouse Angled balconies and external circulation mean Paxton House can boast sun-filled apartments that avoid looking north.  © Jack Hobhouse Paired apartments share entrance lobbies, recessed into the centre of the floorplan, enabling the use of efficient, slim layouts. Such an approach allows flats to have a more neighbourly feel, representing a departure from the typically anonymous multi-unit residential living.  Axonometry Furthermore, Paxton House offers a spare bedroom and workspace. These are shared by the whole building and the latter can be found as part of the building's generously sized lobby, accessed from Cargreen Road. The spare bedroom, which re-addresses the requirements of apartment living in London, can be found on the top floor where a shared roof terrace with a built-in bbq also resides, all of which complete the strong communal aspect of Paxton House.  © Jack Hobhouse To minimise the impact of external circulation, the walkway's design is specific in terms of its physical position, lighting and acoustic performance. These walkways adopt chipped rubber, commonly found in children's playgrounds, to ensure acoustic dampening and create a characterful, experiential mode of passage.  Axonometry These routes through the building are defined by specific material palettes with floors being colour matched according to level. On the ground floor is brick paving which extends into a courtyard outside, softening the threshold between internal and external spaces.  © Jack Hobhouse The ground floor also houses eight one-bed apartments, a studio apartment and a shared living room-cum-workspace. The first, second and third floors offer nine one-bed dwellings along with a studio and the fourth floor comprises three two-bedroom apartments, a spare bedroom and shared roof terrace.  © Jack Hobhouse Caspar Rodgers, Director of alma-nac: "Given the existing footprint and building aspect, a typical approach of general arrangement - a central corridor servicing flats on either side, would have resulted in North facing, single aspect apartments. We approached the scheme differently. Setting out to provide every single apartment with both dual aspects, but critically, with south/southwest facing living rooms, we achieved this through the provision of an external circulation strategy. We designed an external circulation structure running across the north facing elevation, acoustically dampened and physically offset from the building to minimise its impact to occupants. This doubled as a services tracking route, increasing the available head-height within the apartments, and reducing issues of internal service transfer." Mike Stott, Development Director at Joseph Homes: "The Joseph Homes design team, working closely with alma-nac, created an innovative design that is beautiful, useful and durable; thereby producing an offering in the area that created real value for local buyers." This posting includes an audio/video/photo media file: Download Now |
| Le Corbusier’s Paintings Showcased for the First Time Since 1966 Posted: 13 Oct 2018 11:00 PM PDT  Trois baigneuses, 1935. Image © The Foundation Le Corbusier / FLC ADGAP They say one cannot separate art from the artist, or perhaps in this case, the artist from the architect. Arguably one of the most criticized architects, Le Corbusier is often portrayed as cold and controlling. Depicting his more dreamy and humorous nature, the Nasjonalmuseet's exhibition titled, "Le Corbusier by the Sea," draws upon his memories from his summer travels along the coast of southwest France. Hosted in Villa Stenersen, one of the National Museum's venues, the exhibition showcases Le Corbusier's work as an artist during the period 1926-36. Not only does the exhibition include fifteen of his reproduced paintings alongside a collection of sketches, but also screens two films from Le Corbusier's own footage of his surrounding views.  La pêcheuse d'huitres, 1935. Image © The Foundation Le Corbusier / FLC ADGAP Like most creative minds, Le Corbusier had a special place to find inspiration. Le Piquey, his treasure trove for ideas, was a place where he simply became Charles-Édouard Jeanneret again, sketching incessantly and freely. Once he arrived back to his Parisian studio, he would rework his drawings into paintings, cementing his thoughts to canvas.  Baigneuse, barque et coquillage. Image © The Foundation Le Corbusier / FLC ADGAP As a co-creator of the Purist style, Le Corbusier's paintings depict his fascination with the geometries of mundane objects to either emphasize or deconstruct typological forms, informing his early architectural studies. The curation of the artwork from his time spent specifically at Le Piquey aims to highlight how often he drew inspiration from nature and the environment around him. Lesser known is the extent to which these influences impacted his architectural style and even choice of materials.  Le déjeuner près du pare, 1928. Image © The Foundation Le Corbusier / FLC ADGAP
 Le Corbusier & Yvonne Gallis. Image © The Foundation Le Corbusier / FLC ADGAP Whether liked or disliked, Le Corbusier still remains a deeply faceted individual in the scheme of his larger public identity. Perhaps he only wanted a simple life by the sea, or perhaps the short-lived escapes from the city were enough, but in either case, Le Piquey served as an integral part in formulating his architectural ideologies. The exhibition curated by Bruno Hubert, Tim Benton, and Talette Simonsen will run until December 16. News via Nasjonalmuseet This posting includes an audio/video/photo media file: Download Now |
| Tangent House / Ruben Muedra Estudio de Arquitectura Posted: 13 Oct 2018 10:00 PM PDT  © Adrian Mora Maroto
 © Adrian Mora Maroto Text description provided by the architects. Located in a residential area of low density near Valencia, next to a beautiful natural environment with gardens and golf course, and surrounded by homes of great architectural quality. The project, of great geometric and formal rotundity, with a marked aesthetic character, pursues the greatest possible relationship with the natural environment, always respecting privacy with adjoining housing in the longitudinal direction.  © Adrian Mora Maroto To do this, the house is composed of a series of tangent volumes that slide relatively to each other, giving rise to the best possible views from all of them. Each of these volumes -which are also variable in height -is delimited by two walls of concrete in titanium gray in the longitudinal direction, and by large glazing in a transversal direction. In this way, the necessary opacity and privacy is generated to the neighboring plots, while the view towards the gardens and the golf course is facilitated. It presents a clear contrast between concrete as a solid, heavy element, and glazing as a permeable and light element.  Ground floor plan  First floor plan Each block corresponds to a specific use of the program, appropriating for continuity the contiguous external space, and generating great wealth in the relationships between tangent inner spaces. Each block, each use, will have different heights in correspondence with the program and the surface served.  © Adrian Mora Maroto The program of uses, clearly differentiated by levels, has a basement with parking and leisure areas, lit naturally by a large patio tangent to the third volume. The ground floor has a service area in the first block, a hall in the second, a kitchen in the third, a dining room in the fourth, and a living room in the fifth; all of them being open spaces, tangents and with different height. Then, porch with cantilever in double direction and pool tangent to the porch. The second floor includes the sleeping area, with bedrooms in the first volume, double height distributor in the second, master bedroom in the third, and terrace in the fourth.  © Adrian Mora Maroto The landscaped exteriors, with the strength of the titanium gray concrete walls and the large black aluminum glazing, contrast with the subtlety and warmth of the interior spaces, solved with natural oak flooring, vertical white paneling, and absolutely pure white roofs with indirect lighting. In the center of the house, and next to the double height entrance hall, the stairway, made of steel folded in black, is developed.  © Adrian Mora Maroto In all cases, the relative sliding between volumes, gives rise to an excellent natural lighting of the interior spaces, capturing natural light from opposite orientations, and allowing cross ventilation.  © Adrian Mora Maroto This posting includes an audio/video/photo media file: Download Now |
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