Arch Daily |
- Hotel Flottant / Seine Design
- After Belonging Agency On the Emergence of New Patterns of Living
- Sporthalle Kepler- und Humboldt-Gymnasium / h4a Architekten
- Fence House / mode:lina architekci
- Hasshoden-Charnel House in Ryusenji Temple / Love Architecture
- Hekerua Bay Residence / Archimedia
- The Dinosaur Egg Geological Museum / Wuhan HUST architecture and urban planning design institute
- Lahinch House / Lachlan Shepherd Architects
- IKEA Recreates Syrian Home Inside their Store in Efforts to Aid Refugee Crisis
- Hires Apartment Renovation / buro5
- Watch Bjarke Ingels Take You on a 360 Degree Virtual Tour of BIG's VIA 57 West
- Cielo Mar Residence / Barnes Coy Architects + SARCO Architects
- HOK + FXFOWLE + SPEECH Unveil Designs for Moscow City's Final Skyscrapers
- House in Estoril / António Costa Lima Arquitectos
- 8 Short Architectural Texts You Need To Know
- 2Y House / Sebastián Irarrazaval
- Installations Accent Stuttgart Region During Light Art Festival
- Inside the UK's New Attack on Brutalism
| Posted: 14 Nov 2016 09:00 PM PST  © Sergio Grazia
 © Sergio Grazia From the architect. Volume and Integration. A piece of Paris on the Seine. The integration of OFF Paris Seine in its environment comes first by the very Parisian expression it proposes. The hotel merges with the city via its right and left banks and the twin hulls of the hotel itself, the river Seine that splits the city, its zinc roofs, and the multiplicity of its services. In many ways OFF Paris is like a floating fragment of the city itself.  © Sergio Grazia  Section An uncluttered and elegant design. OFF Paris Seine presents a simple and uncluttered architecture based on twin hulls strongly connected together, on which two levels of modules are superimposed. The floating facility adopts a discrete line since it respects the regulatory height of 6 m from the water line in order to preserve views on the river. Elegant zinc roofs open facades outward while a central glass roof lets natural light enter at the heart of the building.  © Sergio Grazia Transparency. Despite its imposing size (75m x 18m), the OFF fits perfectly into its environment. If public areas' facades celebrate volumes' transparency and minimize screen effect, those dedicated to the hotel's present a silver-woody coating that naturally mingle with the urban riverbanks background. The shutters, treated in discontinuity, give the facades some relief and vibration.  Model To preserve the Austerlitz Viaduct. The more we move towards the Austerlitz Viaduct (historical monument), the more spaces become public and transparent. The aft of the building is composed of a terrace built just above the water line, forming a balcony onto the river, and two marina pontoons allow smaller boats to moor alongside. From the swimming pool, the pool's water line merges with the river, giving an unprecedented view on the Seine and surroundings.  © Sergio Grazia Interior Design. Spatial treatment. On board, all spaces are directly and clearly identifiable by clients. The fluidity of circulation corroborates this dimension. Four gangways enable to organize entries, exits - for customers and suppliers – and give access to different floors and locations in the facility.  Section River experience. Crossed by the river as Paris is crossed by the Seine, the water is the building's backbone. Everything has been thought to make the river experience as authentic as possible: the flexibility of the hulls' articulation to maintain the natural rocking movement, the generous perspectives on the Seine it delivers, the hotel's projection to 10 m from the riverbanks thanks to gangways, the first floor level designed just above the water line, the port's integration at the aft. In the evening, the permanent relationship between the facility and the water is magnified by the lighting design work of Franck Franjou.  © Sergio Grazia Style & Materials. The style is globally sober, far away from fads, giving to the building a certain timelessness. We choose noble and sustainable materials to do so: mostly wood, copper, leather, glass and zinc. The colors are mainly copper and hot.  Bedroom Plan  © Sergio Grazia  This posting includes an audio/video/photo media file: Download Now |
| After Belonging Agency On the Emergence of New Patterns of Living Posted: 14 Nov 2016 08:00 PM PST In this film, presented in collaboration with +KOTE, the After Belonging Agency—Carlos Minguez Carrasco, Ignacio Galán, Alejandra Navarrese Llopis, Lluís Alexandre Casanovas Blanco, and Marina Otero Verzier—narrate a walkthrough of In Residence, one of the two core exhibitions at this year's Oslo Architecture Triennale: After Belonging – A Triennale In Residence, On Residence, and the Ways We Stay in Transit. After Belonging represents the sixth incarnation of the Triennale and the first in which a single curatorial thread has woven all of the festival's activities together, including an international conference. In Residence incorporates a series of Intervention Strategies – platforms with the aim of "rehearsing research strategies" in order to provide new ways for architects to engage with "contemporary changing realities." Here, according to the curators, "international architects and professionals concerned with the built environment have been invited to engage in local collaborations in Oslo, the Nordic region, and around the globe, to intervene in the transformation of residence."  "In Residence" Exhibition (National Museum – Architecture, Oslo). Image Courtesy of Oslo Architecture Triennale In a recent episode of Monocle 24's Section D Hanna Dencik Petersson, Director of the Oslo Architecture Triennale, alongside members of the curatorial team—Alejandra Navarrete Llopis and Ignacio González Galán—discussed the wider implications of their theme. ArchDaily's James Taylor-Foster weighed in on the Triennale's significance. You can listen to the episode, here. Monocle 24 Reports From the 2016 Oslo Architecture Triennale, After Belonging Find out more about the After Belonging Agency, here. This film is a collaborative production between ArchDaily, +KOTE (Keio Åstein and Dag Åstein), and the Oslo Architecture Triennale. Atelier Bow-Wow, OMA, and Amale Andraos Live From the 2016 Oslo Architecture Triennale  This posting includes an audio/video/photo media file: Download Now |
| Sporthalle Kepler- und Humboldt-Gymnasium / h4a Architekten Posted: 14 Nov 2016 07:00 PM PST  © Zooey Braun
 © Zooey Braun From the architect. Due to the prestigious integration into the urban planning, the sports hall forms a prelude or final point in the school campus. An important design criterion was the harmonic integration of the building into the neighborhood – according to the dimensions as well as the color interpretation inspired by the surrounding facade materials.  Section For that, the 18 m high cubic building is covered by a structure of brilliant white shiny aluminum fins in vertical order and slightly rotated. Particularly the 232 belts serve as sun protection for the rooms behind, but by the different light rotation of the fins also selectively directs the light into the inner space.  © Zooey Braun Three single gyms are "stacked" about each other, whereby the undermost gym is lowered in the ground halfway, on the same level as the adjacent consisting gym. The three-story sports hall is accessible by a stairway sculpture in the overlapping airspace, guiding the athletes to the changing rooms and the gym areas in the upper floors. Galleries on the gyms' half level enable the view from the airspace to the athletic hustle in the sports field.  © Zooey Braun Also the interior design is very spacious and robust. Clarity, openness, suitability and functionality mark this architecture. The used materials are modest, calm, cautious and of high quality – exposed concrete, white lacquered surfaces, wooden windows and wall panels. Color concepts for the interior and floor covering differ by storeys and support orientation.  © Zooey Braun  This posting includes an audio/video/photo media file: Download Now |
| Fence House / mode:lina architekci Posted: 14 Nov 2016 06:00 PM PST  © Marcin Ratajczak
 © Marcin Ratajczak In Borówiec near Poznań, once again a house designed by mode:lina™ studio was built. Form of this house: two blocks with a sloping roof and an asymmetric garage cube, is a contemporary interpretation of the traditional style. It is complemented with simple, raw materials: bricks, concrete and sheet in shades of gray.  Floor Plan The street facade has the least windows, protecting the inhabitants from the noise and gives them peace. In addition, various kinds of fences give them the sense of security. That's where the house got the name from: the Fence House. The shape of this building was dictated by its function. Household members, parents and two children, wanted to live independently. Hence the idea of dividing it into two parts. Separate area on the first floor allows adults to enjoy tranquility while kids can go crazy in their "own house".  © Marcin Ratajczak Ground floor is a common part for all inhabitants. There's the unique kitchen extended into the garden and a large living room with mezzanine, reaching the attic. An unusual feature is the window in the hallway, which exhibits the owner's unique car inside a graphite garage cube.  © Marcin Ratajczak Window openings allow you to look inside from one zone to the another. Huge glazing connects the kitchen and the dining area with the garden and the surrounding forest.  © Marcin Ratajczak The living room is a large, open space, where the irregular window theme appears, exposing the natural exterior. The most interesting part of the room is a mezzanine with library, based on the large steel beams. Bookshelves were built with old oak beams, one of Poznan's old townhouse.  © Marcin Ratajczak By chance, the chosen parcel is adjacent to the already existing House On The Rocks.  © Marcin Ratajczak  This posting includes an audio/video/photo media file: Download Now |
| Hasshoden-Charnel House in Ryusenji Temple / Love Architecture Posted: 14 Nov 2016 02:00 PM PST  © Masao Nishikawa
 Site Plan From the architect. Opens the temple to community as a place to interact with "life".  © Masao Nishikawa Amidst such time period, this temple, which stands in the city of Kawaguchi, had the garden changed into a funeral hall and parking lot, oppressing appearance of the main temple building. The tall fences surrounding the premises made the buildings a closed area. The over 40-year-old charnel house, which was rarely in use, stood in a quiet way. Buddhism is originally not a religion that just supports the succession of families. The custom of visiting graves does not change easily even if the form of graves change. This is why we decided not only to renovate the charnel house related to "death" but also to reproduce the temple as a whole that involves people with "life".  Basement Floor Plan  © Masao Nishikawa The originally curvy front approach was made straight, and existing granites were used to focus the perspective on the main temple. The place where it was originally the front approach was planted with trees to visually divide the area into funeral and worship areas. The fences along the front approach were then all removed, releasing the drawing power that a traditional religion naturally has. The locations of washstand, restroom, and the branching approaches that extend from the "Shinobi no komichi" (pathway of recollection) and the front approach were decided in relation to worship activity and the whole lot. Jizo and Buddha stone statues that had been gathered in one place were appropriately distributed along the front approach.  © Masao Nishikawa Designs the hours of worship through one-time natural phenomenon  © Masao Nishikawa The trees along both sides of the front approach and the flowers at one's feet show one the sunlight through trees, and wind through rustling of leaves, and tell the change of seasons through different fruiting and blooming of flowers. The expressive walls of restroom and washstand and the ripples on water basin reflect the one-time natural phenomenon and function as a filter of natural tremor. This way, the path leading to the charnel house was set as a representative of "life" in opposition with the charnel house and graves representing "death". The staircase bridging over the water basin functions as the boundary which separate life and death. The octagonal charnel house represents the Hades; essentially the form of the universe. The dim lit entrance makes one aware of the change in place through the luminance difference. The spiral staircase in the center made of rammed earth allows the top light from the sky to enter, reminding you of underground and promoting introspection within the rotational motion.  © Masao Nishikawa  Section When you reach the charnel chamber, the luminous doors look like planets. The light streaming in through the gap in the bamboo ceiling blink like the stars in the space. This is where you face the deceased. The series of architectural facilities appeal directly to your perception along the time sequence of worship.  © Masao Nishikawa A fixed point to watch over cycle of life. After the renovation, they say there are more visitors accompanied by children. We wish that children would play in the water basin during summer. They would play in the temple in their childhood. They would visit the temple and cherish it. Then they would marry and have children, and eventually pass away. We hope that this temple would be a place to watch over such cycle of life peacefully. The plan was to reconstruct the temple into its original state. Temples should remain the same.  © Masao Nishikawa  This posting includes an audio/video/photo media file: Download Now |
| Hekerua Bay Residence / Archimedia Posted: 14 Nov 2016 12:00 PM PST  © Patrick Reynolds
 © Patrick Reynolds The site is an elevated promontory above a rocky cove at the western entrance to a double bay on Waiheke Island in Auckland's Hauraki Gulf. The site slopes north-east toward a reef and sandy beaches opposite.  Site Plan The house is a collaboration with the Client, an engineer with meticulous attention to detail, who owns a winery on the island. His sensibility for materials is directed by his Cypriot heritage and the sensory experiences founded in his Mediterranean culture. His brief was a single line instruction to enhance the experience of the occupants.  © Patrick Reynolds As a structural engineer he has an affinity with concrete and in situ concrete was defined as the core material for the structure. The Client sourced travertine, remembered from his childhood that matched the colour of the beaches across the bay and the clay-coloured sandstone of nearby island cliffs.  Floor Plan  Section The curved concrete forms resonate with the early 20th century gun emplacements that dot the margins of the Hauraki Gulf - rudimentary, part buried, part exposed, partly anchored, partly projecting from the land. From these four posits - a specific material sensibility, an engineered concrete shell structure, the inclined topography of the place and the forms of the old concrete buildings nearby - the house emerged.  © Patrick Reynolds The site is rebuilt as a series of platforms for living, aligned with the oblique contour, with a cubist pool of water part embedded, part exposed on the west edge. The master suite, a reading room, a second guest suite and a studio are suspended above these platforms. Between them they create a stage for human interaction. This stage opens and closes to the exterior entirely, combining with the terraces and the pool to create a continuous surface bridging inside and out.  © Patrick Reynolds The east and west elevations most clearly articulate the separation between site and superstructure and the single continuous line that traverses the outer edges of the concrete shells.  © Patrick Reynolds  This posting includes an audio/video/photo media file: Download Now |
| The Dinosaur Egg Geological Museum / Wuhan HUST architecture and urban planning design institute Posted: 14 Nov 2016 11:00 AM PST  Courtesy of Wuhan HUST
 Master Plan From the architect. Yunxian situates in the mountain area in central China, at 32°40′N, 110°37′E. It is in the "Hot-summer and Cold-winter climate zone". The museum design adopts all local material, local teams and local construction techniques. It strives to create least disruption with most locally-sourced design input. Cast-in-place concrete, reinforced concrete system, local construction team and local materials are used as much as possible.  Courtesy of Wuhan HUST  Floor Plan The design used locally fast-grown bamboo as concrete molds, it also used old tiles from deserted local earth houses as the 2nd layer of roof. It also helps keep interior temperature in good condition for hot summer climate region. Without any decoration for inside and outside facade, only using some chimney-shaped light well in order to draw in natural daylight as spotlights for the dinosaur eggs. Following the passive design principle, the Museum does not need to use any air condition and other artificial ventilation facilities.  Axonometric Aside from design philosophy, another benefit of the local material and construction team/technique is the economic budget. The site condition including its topography and accessibility is rather complicated, which also results in a building form complicated to construct. Using local material and local construction technique also helps to ensure a modest construction budget while keeping a high-quality contextual design. The Design team also made very frequent trips to the construction site to deliver quality-controlled project within a friendly budget.  Courtesy of Wuhan HUST The morphology of the design roots in spatial distribution of the dinosaur eggs and vertical variation of the on-site topography. The site remained least disturbed, with the minimally- designed walking bridge gently floating above to hug around the site of the eggs, which further determines the direction and form of the architecture that serves as a silent backdrop for the site. It is a building that is modest to the site, honest to the history and respectful to the archaeological excavation.  Courtesy of Wuhan HUST Old material + New construction technique: - The fast-growing local bamboo was chosen as a low-budget sustainable material. However the conventional material is used with innovation: the bamboo was used mostly to make molds that provides concrete a unique, rough and textual finishing.  Elevation Innovative "wind-transparent but light-blocking" window system, solving conflicts between dark visual indoor environment and well-natural-ventilated exhibition sensual environment. The project collects and piles big rocks from rivers and creeks nearby to protect the foundation of architecture. The unaltered natural grass-field and 800-year-old ancient trees are the main landscape feature, which echoes the natural and minimalistic design principles from the architecture.  Courtesy of Wuhan HUST  This posting includes an audio/video/photo media file: Download Now |
| Lahinch House / Lachlan Shepherd Architects Posted: 14 Nov 2016 09:00 AM PST  © Ben Hosking
 © Ben Hosking  Floor Plan 01 In the first briefing meeting with our clients Angie, Vic and their Dalmatian Pirate, Angie's main brief requirement was that she wanted people to walk in and say/think "holy f***"... It was conceived as a place for entertaining, whereby the owners regularly have guests stay including family and friends from within Australia and abroad. Thus, the house had to function firstly as a home to its two full-time occupants (and their Dalmatian) and secondly as a luxury hotel; each guest bedroom is provided with its own ensuite and robe areas, so essentially their guests can "check-in" to their own space before moving into the main living zones of the house.  © Ben Hosking The planning responds to the site surrounds by turning its back on the one adjacent neighbour and opening up to the beautiful golf course views to the south and east. Large expanses of glazing work to draw the rolling golf greens and sound dunes beyond into the home, blurring the distinction between outside and inside.  © Ben Hosking The main kitchen and living zones are also tied to an integrated plunge pool, which is heated year-round, providing a practical, usable pool and doubling as a water feature which is viewed from all living zones. There are no walls diving the lounge, kitchen, dining, and sitting zones but they are separated visually and spatially by the sunken lounge area.  © Ben Hosking  © Ben Hosking The building, whilst highly detailed and technical in its design/construction, also represents an honest, low-maintenance and warm home.  Sections Product Description:  © Ben Hosking  This posting includes an audio/video/photo media file: Download Now |
| IKEA Recreates Syrian Home Inside their Store in Efforts to Aid Refugee Crisis Posted: 14 Nov 2016 08:15 AM PST  via POL Swedish mega-retailer IKEA is taking action to combat the destitute living conditions faced by Syrian refugees. Partnering with the Norwegian Red Cross and advertising agency POL, IKEA has installed a replica of a refugee house in Damascus, Syria at their store in Slependen, Norway. Just 25 square meters in area, the structure represents the actual home of a woman named Rana and her nine family members. Presented in stark contrast to the nearby IKEA room displays, the room's concrete block walls and sparse furnishings highlight the everyday struggles of Syrian citizens. "When we had to flee to this area to find safety, we did not have enough money to rent a better place. We have no money to buy mattresses and blankets, or clothes for the children," Rana told the Norwegian Red Cross.  via POL  via POL Items throughout the model home feature the iconic IKEA tags, but instead of price and dimensions, they list stories about the Syrian family's daily life in the face of war and the crippling shortages of the basic needs like food, water, and medical supplies. Most importantly, each tag also provides information about how customers can help.  via POL Meanwhile, in London, the Design Museum has installed one of IKEA's flat-pack refugee shelters, "the Better Shelter," outside the South Kensington Underground station, just steps away from the institution's new home within a 1960s structure renovated by a team including OMA and John Pawson. The occasion marks the Better Shelter's first public exhibit in the UK, and will be on display until the museum's reopening on November 24th. Nominated for the Design Museum's Beazley Designs of the Year Award 2016, the Better Shelter was developed by the IKEA Foundation in collaboration with the UN Refugee Agency (UNHCR) and the Refugee Housing Unit in 2013 to provide a high-quality temporary accommodation that could replace the tents currently used in refugee camps all over the world. Thousands of the structures have since been deployed worldwide, serving as a longer term solution for housing and other needs. News via TV-aksjonen, Norwegian Red Cross, the Design Museum. H/T Bored Panda, Dezeen.  This posting includes an audio/video/photo media file: Download Now |
| Hires Apartment Renovation / buro5 Posted: 14 Nov 2016 07:00 AM PST  © Artem Ivanov
The basis for the creation of the interior served as a non-standard original layout of the house and the customer's wishes. The apartment is located in a 40-storey high-rise building, in which there are no open windows due to strong gusts of wind. Instead, ventilation is provided through the front grille, located on the balcony. There's also the place to set the air conditioner was provided. Balcony area was 25 m2  © Artem Ivanov The client wanted to make part of the balcony of the living space, which is not contrary to the design of the house. To do this, we had to first solve three major problems: - Preserve the free flow of fresh air  © Artem Ivanov These problems we have decided due to: - The installation of double glazing  © Artem Ivanov In addition, the Client has set the task to make the most spacious room with a minimum of interior items. All these factors will affect the future of the interior aesthetics - we chose the style of Urban.  © Artem Ivanov Final Touch overall style added views - the house is located on the banks of the Moscow River with views of the industrial landscapes.  Before Plan  After Plan  This posting includes an audio/video/photo media file: Download Now |
| Watch Bjarke Ingels Take You on a 360 Degree Virtual Tour of BIG's VIA 57 West Posted: 14 Nov 2016 06:00 AM PST Want to know how BIG's VIA 57 West was designed? Let Bjarke Ingels explain it you himself in this new 360 degree video from creative production house Squint/Opera. Shot in incredible 4K video, the video uses motion graphics and CGI overlays to take you through the building's construction while Ingels provides commentary on the design of the"courtscraper," winner of the 2016 International Highrise Award. And for the full immersive experience, the video can be viewed through a VR headset using the youtube app on your smartphone. For more by Squint/Opera, check out their latest video on BIG's design for Hyperloop One, the new autonomous transportation system that will connect downtown Dubai to downtown Abu Dhabi in just twelve minutes. Via Squint/Opera.  This posting includes an audio/video/photo media file: Download Now |
| Cielo Mar Residence / Barnes Coy Architects + SARCO Architects Posted: 14 Nov 2016 05:00 AM PST  © Paul Domzal
 © Paul Domzal  © Paul Domzal The Cielo Mar residence is a collaboration project between NY-based firm Barnes Coy Architects, who created the original concept & design of the home, and SARCO Architects Costa Rica who performed the design development, final plans and construction management of the project.  © Paul Domzal The home is a three-story upside-down design, created on a bluff with a sharp slope at the end facing the ocean. The home appears from the road as a simple, one-story structure with a sloping and curving wall, and really hides the rest of the home dug into the hillside. The main level of the home is done in the middle level, where all social spaces, outdoor areas, master bedroom and pool are all located. In the lower level the home houses additional guest rooms, a gym and a media room.  © Paul Domzal The shape of the home was inspired on a bow-and-arrow idea, with a concentric shape housing the main social area, and some bedrooms on the opposite end, which represent the bow. The arrow is represented by an entrance canopy that continues outward as a cantilevered steel bridge over the swimming pool.  © Paul Domzal The bridge became the central element of the outdoor space, under which was created a space for outdoor dining, used by the family and guests throughout the year except when it rains. The bridge also provided the structure from which to attach retractable shading, created by the use of boat sails full with sailing hardware to retract the sails in and out. When furled up, the sails are neatly tucked away in their rollers attached to the underside of the bridge.  © Paul Domzal  Main Level  © Paul Domzal The exteriors of the home are modern, natural and muted at the same time, with accents of color in the exposed steel structural elements. Extensive deck areas are done in natural Ipé wood from Brazil, with the swimming pool was finished in volcanic stone. Exterior volumes are comprised of either glass curtain walls done in wood-framed window system, the kitchen & bar box clad in Porcelain tiles to replicate cor-ten steel, and the “Bento Box” at the other end clad in Ipé wood siding. All exterior railings are custom-fabrication 316 Stainless Steel with stainless braided wire for horizontals.  © Paul Domzal This home was a massive construction and engineering undertaking done by SARCO Architects in many aspects. The swimming pool, for example is of varying depth with 9ft. depth at the deepest end, and still this is elevated around 7ft. off the ground. The structural anchoring of the pool to prevent from failure during earthquakes included 3 massive 10X10X10ft reinforced concrete anchors dug into the rock hillside, with reinforced concrete beams attaching the anchors to the pool’s floor structure. The engineering ingenuity and safety measures were all in good measure, as in late 2012 the home went through a 7.6-Richter Scale earthquake whose epicenter was around 60 miles away from the home, with no damages.  © Paul Domzal The steel bridge was manufactured off-site in two sections and trucked to the site to be hoisted in place by two cranes and welded on site to the inverted-A steel support. The bridge cantilevers a total of 29ft from this point, aided by 1-inch thick solid stainless-steel bar tensioners to both sides of the support.  © Paul Domzal The entire home was fitted with first-generation LED lighting, design led by NY-based Gary Novasel at PATDO Light Studio. At the time this was the first full LED-equipped home in Costa Rica.  © Paul Domzal  This posting includes an audio/video/photo media file: Download Now |
| HOK + FXFOWLE + SPEECH Unveil Designs for Moscow City's Final Skyscrapers Posted: 14 Nov 2016 04:20 AM PST  Courtesy of Renaissance Development Visualizations of the last full-scale skyscrapers in Moscow's new International Business Center ("Moscow City") have been revealed. Designed by an international team made up of HOK (USA), FXFOWLE (USA) and SPEECH (Russia), the two "Neva Towers" will provide additional residential and office space to the skyscraper district, which includes many of Europe's tallest structures, including Europe's tallest building, Federation Tower (sometimes called Vostok Tower); and one of the world's tallest twisting buildings, Evolution Tower. Located on a triangular site in the northwest of Moscow City, the two rectangular towers rise from a 4-story podium, arranged to create an open plaza and green space surrounding the buildings that will be free from future development. The landscaped space will serve as the entry point to the towers, as well as to the aboveground and underground retail galleria and parking deck.  Courtesy of Renaissance Development Program types will be split between the two skyscrapers – the taller of the two buildings will reach a height of 338 meters and will contain 77 floors of residential units, while the shorter tower will provide 63 floors broken up between office and apartment levels. In total, the project will add 1,210 new apartment units. As they rise, the towers retain a classic form that gradually steps back to a fully glazed top tier to give the structure a visual lightness and provide the penthouse apartments with panoramic views of the city.  Courtesy of Renaissance Development "The tower configuration is expressly laconic: the shape of the flat high-rise buildings is modified by slight shifts of the central parts forming a sort of a core of the towers, which is enveloped on both sides by three tiers tapering upwards," explain development group Renaissance Development. "The facades of both towers are decorated with pylons getting narrower from the bottom up. Such design imparts a special appeal to the structure, being both effectively up-to-date and recalling the legendary specimens of the 20th century high-rise construction."  © Flickr user v_mats. Licensed under CC BY-ND 2.0 The project has been estimated to be completed by 2019. News via Renaissance Development.
Moscow's High Rise Bohemia: The International Business District With No Business  This posting includes an audio/video/photo media file: Download Now |
| House in Estoril / António Costa Lima Arquitectos Posted: 14 Nov 2016 03:00 AM PST  © Francisco Nogueira
 © Francisco Nogueira From the architect. The house is located in one of the so characteristic Estoril neighborhoods that had their origin in a summer occupation and expanded along the edge of the so called Costa do Sol. It is an orthogonal grid, with dense articulation, narrow streets and small scale plots.  © Francisco Nogueira The house has a personal relation with the Client: it represents the journey of a lifetime of a family that has lived in several places around the world.  Model This idea combined with the need to overcome the obstacle created by the blind wall of the neighbor building, resulted in an ascetic movement from the land that searches the light and views of the valley in the east and the sea to the south.  Section This promenade around the patio runs through different moments of the house: the ground floor patio, the social area (living room, dining room and kitchen), private area (rooms and offices) and a terrace, including a roof top garden.  © Francisco Nogueira It is the extension of this route into the house that defines the entire inner and outer space. The patio result of this continued movement gallery ramp and are defined two distinct altimetric volumes separated from each other through half floor height.  This posting includes an audio/video/photo media file: Download Now |
| 8 Short Architectural Texts You Need To Know Posted: 14 Nov 2016 01:30 AM PST  © Sharon Lam, using an image by <a href='https://commons.wikimedia.org/wiki/File:Adolfloos.2.jpg'>Wikimedia user Martin H.</a> licensed under Public Domain Quality over quantity, so the saying goes. With so many concepts floating around the architectural profession, it can be difficult to keep up with all the ideas which you're expected to know. But in architecture and elsewhere, the most memorable ideas are often the ones that can be condensed textually: "form follows function," "less is more," "less is a bore." Though slightly longer than three words, the following lists a selection of texts that don't take too long to read, but impart long-lasting lessons, offering you the opportunity to fill gaps in your knowledge quickly and efficiently. Covering everything from loos to Adolf Loos, the public to the domestic, and color to phenomenology, read on for eight texts to place on your reading list: 1. Planning the Powder Room by Denise Scott Brown © Sharon Lam, using an image by <a href='https://commons.wikimedia.org/wiki/File:Denise_Scott_Brown_portrait_by_%C2%A9Lynn_Gilbert,_1977.jpg'>Wikimedia user LynnGilbert5</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/4.0/deed.en'>CC BY-SA 4.0</a> A lesser-read piece from the co-author of the seminal Learning From Las Vegas, is Denise Scott Brown's witty essay Planning the Powder Room. Penned in 1967 but still capable of making one sigh in agreement throughout, the essay gives an honest critique on public bathrooms—the all too often hookless cubicles, and the always hookless sinks that leave one awkwardly sandwiching belongings between legs. Scott Brown then shows how simple design can end the everyday impracticalities easily brought about by unaware able-bodied male architects. The essay shows how toilets are worthy of thoughtful design as well, and that it should be at least a number two, if not number one, priority. 2. Ornament and Education by Adolf Loos © Sharon Lam, using an image by <a href=' https://commons.wikimedia.org/wiki/File:Adolfloos.2.jpg'>Wikimedia user Martin H.</a> licensed under Public Domain Adolf Loos was prolific in his architectural writing, penning many articles across various journals and newspapers, with Ornament and Crime being the most famous. However, Loos would come to be disenchanted by the sloganizing and radicalization of a strictly anti-ornament stance. Wanting to distance himself and to clarify his own position, he later wrote Ornament and Education. Published 14 years after Ornament and Crime, Loos rejects those who misread his original essay to mean that "ornament should be systematically and consistently eliminated." Giving a more holistic view than before, he reaffirms that "modern people, with modern nerves, do not need ornament," while acknowledging that "classical ornament brings order into the shaping of our objects or everyday use." 3. Short Stories: London in two-and-a-half dimensions by CJ Lim © Sharon Lam, using image via screenshot from <a href='https://www.youtube.com/watch?v=SvGbciNlvD4'>CJ Lim - Food City</a> Part fiction, part architectural model eye candy, the ten short stories in this collection imaginatively weave together narrative and architecture. "The ultimate purpose of this book is to demonstrate that architectural representation need not be a neutral tool... that there are alternatives to the reductive working methods of contemporary architectural practice," introduces CJ Lim. The seamless combination of the real and unreal, architecture and fiction, models and text, results in one of the most enjoyable architectural reads out there. 4. Towards a Critical Regionalism by Kenneth Frampton © Sharon Lam, using an image via screenshot from <a href='https://www.youtube.com/watch?v=NzZ1VsrUyXU'>Kenneth Frampton Archiculture Extras Interview</a> Drawing on the likes of Hannah Arendt, Paul Ricœur, Walter Benjamin and Martin Heidegger, Kenneth Frampton explores architecture's role in proliferating a "universal placelessness" through artificial light and bulldozing land into tabula rasas. These are but a few of the consequences of what Frampton identifies as architecture's polarization between a "'high-tech' approach predicated exclusively upon production" and "the provision of a 'compensatory facade' to cover up the harsh realities of this universal system." Across six salient points, the case for Critical Regionalism is made, offering an architecture that values universal aspirations and geographic context, rather than "the Western tendency to interpret the environment in exclusively perspectival terms." 5. How to Colour by Lisa Robertson © Sharon Lam, using image via screenshot from <a href='https://www.youtube.com/watch?v=Vc5XmTbGtVQ'>12.1.12 Lecture / Reading Lisa Robertson et Abigail Lang</a> "It is we who have caused this stirring called colour. Nevertheless, we cannot control it. When we stumble against limits we blush. Disproportion and fragility are shameful and funny," writes Lisa Robertson. Part historical chromatic discourse, part literary fiction, the essay is a refreshing look at the mystery and affect of color. How to Colour is just one of many short essays on buildings, space, place, art and everyday interactions with the environment in Robertson's book Occasional Work and Seven Walks from the Office for Soft Architecture. The complete book, with a free open-source PDF version, can be found here. 6. The Eyes of the Skin by Juhani Pallasmaa © Sharon Lam, using an image by <a href='https://commons.wikimedia.org/wiki/File:Juhani_Pallasmaa.jpg'>Wikimedia user Soppakanuuna</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> Making appearances on many first-year reading lists (and often therefore appearing perpetually closed on the floors of student bedrooms), The Eyes of the Skin is worthy of a proper reading despite its misunderstood cliche position in architectural literature. The book is written with great readability, revealing the ties between architecture and our own bodies, memories, senses and time, almost conversationally. For a word, phenomenology is long, but for a book, Eyes of the Skin is not—making it the perfect text to revisit (or finally get around to reading). 7. In Praise of Shadows by Junichiro Tanizaki © Sharon Lam, using an image by <a href='https://commons.wikimedia.org/wiki/File:Junichiro_Tanizaki_1913.jpg'>Wikimedia user Suiten</a> licensed under Public Domain Published in 1933, Junichiro Tanizaki's essay remains relevant, if not even more charged, in today's increasingly multicultural society. By considering shadows, light is shed on the all-consuming cultural influences we blindly accept. Pondering a non-colonial environment where hospitals are tatami-ed, brushed pens melt into soft, thick paper, where toilet trips become "a physiological delight," Tanizaki poetically uses Japanese aesthetics as a lens to discuss architecture, objects, and contrasts between Western and Asian cultures. 8. Window by Beatriz Colomina © Sharon Lam, using an image by © <a href='https://www.flickr.com/photos/strelka/15069054410'>Flickr user Strelka</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/deed.en'>CC BY-SA 2.0</a> It's common knowledge that Le Corbusier is a "problematic fave" of the architecture world, and no-one explains this quite as well as Beatriz Colomina. In Window, an especially accessible essay in Privacy and Publicity: Modern Architecture as Mass Media, Colomina uses the window and Le Corbusier case studies to discuss the public, the private, the representation of buildings and the representation of women.  This posting includes an audio/video/photo media file: Download Now |
| 2Y House / Sebastián Irarrazaval Posted: 14 Nov 2016 01:00 AM PST  © Felipe Díaz Contardo
 © Felipe Díaz Contardo From the architect. The main objectives of the house are two. Firstly; that it integrates the forest in the daily experience of the user and Secondly; that it receives as much light and sun as possible during the entire day. For that purposes the program is fit in a 2Y letters diagram that creates not only double orientations for entering sun at different times of the day but also exposes the inhabitant to views that surround him. In other words, the extremely extended perimeter of the house and it bifurcations, in opposition to a compact organization, potentiates the experience of been, not in front of the exteriority, but within it. More specifically, of been among the sun and the trees in a parietal relationship.  © Felipe Díaz Contardo Additionally this shape also made possible to fit into the existing trees without having to clean the site.  © Felipe Díaz Contardo Regarding the materialization of the project, timber was chosen not only because it is a local material that could anchor the house to the place by affiliations with the natural and the cultural, but also because the wooden structures, in opposition with other kind of material ensembles, are naturally built using infinite linear elements that as a result, resemble the sense of infinity that is present in forests and could enter in a sort of vibration with the exterior. In this respect, the structural and the architectural plans were done simultaneously and in a permanent conversation. At the end it is hard to distinguish one from the other. Whit regard to the relation with the ground, the above-mentioned 2Y diagram negotiates the slope in different manners. Sometimes it underlines and rests upon the ground and others it contrasts with the soil, stressing the artificiality of the architectonic body. With respect to the exterior treatment of the skin, the objective was to create a constant vibration with the mostly green exterior that, as it is well known, can be achieved using a red colour.  Floor Plan  © Felipe Díaz Contardo  This posting includes an audio/video/photo media file: Download Now |
| Installations Accent Stuttgart Region During Light Art Festival Posted: 14 Nov 2016 12:00 AM PST  © Karolina Halatek The KulturRegion Stuttgart successfully wrapped its three-week Aufstiege ("Ascents") Light Art Festival in October. Curated by Joachim Fleischer, the festival showcases work by over 40 artists from 10 countries. The 37 installations were available for viewing nightly from 8 p.m. to midnight across 25 cities near Stuttgart, and particularly popular exhibits have been extended.  © Frank Kleinbach For example, artist Karolina Halatek's light sculpture Terminal will remain on display until November 21 in Gerlingen. Hatalek works at the intersection of visual, architectural, and sculptural objects, describing her art as an invitation for drama and reflection. Situated like a UFO in the Gerlingen's town square, the installation emphasizes the duality between light's powerful realness and its intangibility. Terminal is simultaneously separate from its site and open to it, setting a stage for interaction with its spectators.  © Frank Kleinbach Other extended works include Max Frey's "In the River," which can be viewed at the Eugenstaffel for the next ten years; "Vertex" by Susan Helenmiller, Martina Kändler, and Katharina Heubner, which will become a permanent addition to the Schlossbergplateau stairway; and "Runners 10" by Christine Camenisch and Johannes Vetsch, which will remain at the subway station for another year. The festival encourages people to explore the region, using light to highlight new paths and places for those who are unfamiliar. The installations aim to provide opportunities for people to discover and participate in their built environment. News via: KulturRegion Stuttgart  This posting includes an audio/video/photo media file: Download Now |
| Inside the UK's New Attack on Brutalism Posted: 13 Nov 2016 10:00 PM PST  Royal National Theatre, London. Image © Studio Esinam / Rory Gardiner UK transport minister John Hayes has declared war on Brutalist architecture, The Independent reports. Citing public distaste for the functional, modern designs characterized by exposed concrete and brick masonry, Hayes warned against a revival of the style, referring to it as "aesthetically worthless, simply because it is ugly." Meanwhile, Hayes named Boris Johnson's New Routemaster and the redeveloped St. Pancras, Blackfriars, and King's Cross stations as specimens of exemplary design. At the heart of this ire is a push to rebuild a Doric arch outside Euston station, which was demolished in 1962. Learn more about the campaign and its reception here.  This posting includes an audio/video/photo media file: Download Now |
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