Arch Daily |
- Half Buried House / eneseis arquitectura
- Villa Vatnan / Nordic Office of Architecture
- Slow Town Tiny House / The Plus Partners + DNC Architects
- Southern Sunshine Home / HAO Design
- Toigetation 2 / H&P Architects
- 6 Ways BIM Can Make Your Architecture Firm More Competitive
- Las Palmas Heights / o2 Architecture
- Christ & Gantenbein’s Kunstmuseum Basel Photographed by Laurian Ghinitiou
- Media City Footbridge / WilkinsonEyre
- OMR Art Gallery / Mateo Riestra + José Arnaud-Bello + Max von Werz
- Hugh Martin & Partners' Princes Square Named Scotland's Building of the Century
- Karlovac Freshwater Aquarium and River Museum / 3LHD
- "Creative Cynic" Peter Cook Explains Why Archigram Designs Were Always Meant to Be Built
- 16 Tips To Improve Your Model-Making Skills
- Atlas Hotel Hoian / Vo Trong Nghia Architects
- Gentrification's Image Problem and How It Has Been Villified
- Castle Resort: Call For Entries
- Article 25's "10x10" Auction Features Work by Zaha Hadid, Kengo Kuma, Richard Meier & Antony Gormley
| Half Buried House / eneseis arquitectura Posted: 21 Nov 2016 07:00 PM PST  © Andrés Flasjzer
 © Andrés Flasjzer From the architect. Aspe´s half buried house is located in the typical inner Alicante´s half desertic landscape, amongst irrigated crops and low mountains of great beauty, yet surrounded by a single family residential tissue, dense and repetitive.  © Andrés Flasjzer Winters are not too cold, and at the same time there is a dominant West wind that lowers thermal feeling. Summers are very hot and dry.  © Andrés Flasjzer Project´s main goal was to achieve an special place, highly related to landscape, in order to live comfortably.  © Andrés Flasjzer Project´s strategy was to work at the same time plot, landscape and building, to obtain the most of them, enhancing themselves to each other.  Axonometric Landscape is a prolongation of the garden, which is a prolongation of the home. Thermal confort was achieved by partially burying the dwelling. Thanks to that, the house takes advantage of the thermal inertia, that naturally adjusts temperature. This, together with a targeted orientation that obtains winnings in winter and protection in summer, plus a crossed ventilation, results into a thermal responsive home.  © Andrés Flasjzer By burying the house taking advantage of the plot´s slope, two flat levels are activated: the terrace-garden area above, plus the house level where pool is located as well.  Ground Floor House´s floor plan has S shape, attached to plot´s west edge, where entrance is located too. Dwelling is required pass in order to access the plot, protecting at the same time the pool.  © Andrés Flasjzer Inner S side generates an open court where main rooms and circulation face, creating an extension of inner space towards outer garden, without an intimacy loss. Result is a white construction that highlights the house, and that embeds itself into the terrain, interweaving with gardens, courtyards, inner spaces and terraces, creating different ways of experiencing the place, and relating to the landscape.  This posting includes an audio/video/photo media file: Download Now |
| Villa Vatnan / Nordic Office of Architecture Posted: 21 Nov 2016 06:00 PM PST  © visualis / m.c.herzog
 © visualis / m.c.herzog From the architect. Nordic — Office of Architecture was approached by the Vatnan family to deliver their dream home. They had a simple architectural vision, but a demanding site on which it was to be realised.  © visualis / m.c.herzog Located on the edge of an established residential area with limited access and a steep topography, the site does however offer fantastic views from the private and shielded south-west facade.  © visualis / m.c.herzog The family desired a home for both everyday life and entertaining, where the primary rooms are all collated on one floor with generous sizes and well resolved spatial relationships. By lifting this main floor up to one floor above the natural entrance level, we captured the best of the views and the sun. The elongated body of the house shelters against the wind and creates an open private outdoor space, while the bedrooms and living areas all have direct access to the garden via a covered terrace stretching the length of the house.  © visualis / m.c.herzog The simple concept is reinforced by the overall simplicity in use of materials. The entire main floor is covered in pine boards, and the living room, kitchen and terrace are clad in veneered oak. The concrete is sealed throughout the house, and the ceiling height of 2.8 metres further contributes to the experience of the house opening up towards the grand view to the south-west.  Floor Plan The basement and main deck are cast in concrete and the gable and long walls to the north-east are clad in cedar wood.  © Espen Grønli Product Description. Dinesen Oak wooden floor, 450mm width. Used on whole upper main floor in all rooms – living, kitchen and bedrooms, establishing the principle idea of one dominant floor for the whole family.  © visualis / m.c.herzog  This posting includes an audio/video/photo media file: Download Now |
| Slow Town Tiny House / The Plus Partners + DNC Architects Posted: 21 Nov 2016 02:00 PM PST  © Moobum Bang
 © Moobum Bang 'The Tiny House of Slow Town', one of the 'Slow Town' projects, is the building of small houses that uses the least modules out of woods to expand the inadequate accomodations in Gangwon city, the host city for the Pyeongchang 2018 Olympic Winter Games, and also to provide an easy access to the geographical beauty of the city.  © Moobum Bang  Floor Plan  © Moobum Bang  Floor Plan  © Moobum Bang Gangwon city is one of the few clean areas left in Korea and it needs to be protected and kept that way. 'The Tiny House Of Slow Town' project has the purpose of providing accomodations with the maximized housing facilities while using the least materials that are environmentally friendly.  © Moobum Bang  This posting includes an audio/video/photo media file: Download Now |
| Southern Sunshine Home / HAO Design Posted: 21 Nov 2016 12:00 PM PST  © Hey!Cheese
 © Hey!Cheese From the architect. Good traffic flow creates a comfortable space. Whenever HAO Design receives a new case, the first thing we do is to observe the surrounding environment of the house and list its unique strengths. Then we brainstorm ideas, integrate the space and plan the traffic flow. Take this freestanding house located in Kaohsiung. We assessed it and found four major advantages: a large yard, high roof, good natural light and a rectangular floor plan.  © Hey!Cheese  Plan  © Hey!Cheese We changed the original traffic flow by moving the entrance to the side of the house. Although you need to walk around the house to get in, the first thing you see is the big yard. It's like walking from the city into a country cottage; your body and mind both relax immediately. The solid wooden platform at the entrance is reminiscent of old Japanese structures. Residents can sit on it to enjoy the garden view. We made a lot of adjustments to the interior, removing a wall to merge the old living and dining room into one open space. The original entrance is now a raised washitsu (Japanese-style room) where people can have a rest.  © Hey!Cheese During the renovation, HAO Design knocked out portions of the ceiling and discovered it was sloped. At its highest point, the indoor ceiling is four meters high and significantly widens the room. Therefore, we did not alter the ceiling height, and the room is now spacious and comfortable. The kitchen, connected to the living room, is nearly 8 ping (26.4 square meters). This is a kitchen island design with a 280 centimeter-long counter top, just like a dream kitchen. The house owner likes to cook, and now that he has enough cooking space, he can enjoy his hobby. Even though the ceiling is slightly lower in the kitchen, it is connected to the living room, which gives the impression of a bigger space.  © Hey!Cheese When we were first planning the renovation, we realized the original layout consisted of too many different sections, and the lack of windows made it hard for light to enter. So the problem of how to integrate the small individual spaces and introduce more light was also a huge challenge. HAO Design introduced a ceiling window in the master bathroom to let in more sunlight. We changed the front door into a large French window so it lets in more light and those in the house can enjoy a view of the garden, a serene place in the bustling city. We also added a window near the ground in the master bedroom so light can enter, but we made sure that the room does not get too bright. The right amount of natural light makes a house more energetic.  © Hey!Cheese  © Hey!Cheese  This posting includes an audio/video/photo media file: Download Now |
| Toigetation 2 / H&P Architects Posted: 21 Nov 2016 11:00 AM PST  © Nguyen Tien Thanh
 © Nguyen Tien Thanh From the architect. Subsequent to the Toigetation project completed in Son Lap school in 2014, the Toigetation 2 has been upgraded regarding the number of sanitary equipment and accessories as a more holistic approach to the standard sanitation service by Ministry of Education and Training and Ministry of Health of Vietnam. The project is to meet the sanitation and washing needs for over 300 Ta Ma primary school pupils in Ta Ma commune – a commune in special difficulties and water scarcity in Tuan Giao district, Dien Bien province.  © Nguyen Tien Thanh  Diagram  © Nguyen Tien Thanh Featured with the iconic image of two big trees with wide canopy providing shade to the space below and within, the Toigetation 2 lightly touches the ground with a layer of vegetation (trees and herbs) on its four sides. The layer of vegetation helps regulating indoor climate, harnessing load bearing structure, supplying food and at the same time creating a perceived boundary between inside and outside space. Constructed by local Human resources and Materials in simple but efficient construction methods, the project uses solar panels for electric lightening, rain water and waste water for cleaning and gardening purposes.  © Nguyen Tien Thanh  Plan  © Nguyen Tien Thanh The Toigetation is supposed to contribute to shaping users' future action, thereby exerting significant impacts on the promotion of local ecological balance, economic stability and improvement of Human rights in Vietnam more positively in the context of severe shortage of toilets at schools in Vietnam's rural areas.  © Nguyen Tien Thanh  This posting includes an audio/video/photo media file: Download Now |
| 6 Ways BIM Can Make Your Architecture Firm More Competitive Posted: 21 Nov 2016 10:00 AM PST  Emerson College Los Angeles by Morphosis Architects, which won the AIA's 2015 Technology In Architectural Practice Innovation Awards for its use of BIM. Image © Iwan Baan Starting an architecture firm may sprout from one's love for and interest in the discipline, but running a competitive business requires more than just a tendency to enjoy the work. BIM could be the edge a firm needs in order to stand out from the crowd. There are many ways a firm can make use of BIM to become more profitable on their projects and successful in winning those projects in the first place; read on to find out more about six of them.  Using BIM can help many firms to avoid outsourcing processes such as rendering. Image Courtesy of Autodesk 1. Avoiding OutsourcingBIM has been available to architecture and design firms for decades, but in its early years often took too much time and computing power for it to make sense for smaller firms, who still found it cost-effective to outsource processes such as visualization of their designs. But now, with BIM software easily available and feasible for almost any architect to implement, firms stand to gain from the benefits that BIM brings by creating their own visualizations instead of having to pay for them. 2. More Flexible ProcessesBy using BIM within your own firm, you also gain enormous amounts of flexibility in the event of changes to the design. When outsourcing visualizations, for example, models and images are sent back and forth countless times; similarly, with non-BIM processes, any design changes must be communicated in detail to engineers and contractors via email or even in person. But with shared BIM models communicating such changes to subcontractors automatically, the time and money spent on communicating design changes is minimal, giving designers much more freedom to ensure the project meets their client's expectations. 3. Increased Understanding of the Designed SpaceDesigning a building using BIM's 3D-modeling-based system, as well as being able to quickly generate rendered visuals of the proposal, also improves the understanding of the building design and site among the architects working on the project. As Crawford Smith, BIM specialist at SERA Architects Inc., explains:
 Being able to work collaboratively with engineers and consultants on the same model speeds up communication processes. Image © SERA Architects 4. Providing Quicker FeedbackFurthermore, by internalizing some processes that might previously have been outsourced, and by improving communication on those processes that still are, BIM also offers accelerated feedback on design proposals, particularly when communicating with clients. As William Sharples, principal of SHoP, explains:
Generating your own visualizations allows you to react far more quickly to a client's critiques and suggestions; minimizing the time needed for feedback not only minimizes costs, it also improves your reliability and reputation as a firm. 5. Creative ExplorationWhile much is made about the increases in productivity and efficiency which arise as a direct result of BIM, it is less commonly discussed that this also opens opportunities for creative improvement. By meeting deadlines ahead of time and producing accurate, information rich models, BIM leaves time for architects to conduct creative investigations. Better alternatives to a design may arise during such an activity, producing more options and visual data for a client. Crawford Smith, BIM specialist at SERA, says:
6. Advanced Visualization OptionsOne of the strongest arguments for implementing BIM--one that can still help a firm stand out among almost all of its competitors--is the recent advances in visual technology; specifically, advances in Virtual Reality. BIM's 3D modeling process means that designs are easily rendered and imported into a wide variety of VR environments, for example with Autodesk's new LIVE service offering a one-click interactive rendering out of Revit. Soon, VR technology is likely to be as sought after by clients as ordinary renderings are today, and being an architecture firm that has the internal skills necessary for this shift will be a huge asset. The ability to quickly incorporate the client's feedback into a model that can be communicated through VR would undoubtedly make any architecture firm a frontrunner. Download the Definitive Guide to Growing your Architecture Firm with BIM to learn how to build your business with BIM. This article was sponsored by Autodesk.  This posting includes an audio/video/photo media file: Download Now |
| Las Palmas Heights / o2 Architecture Posted: 21 Nov 2016 09:00 AM PST  © Lance Gerber
 © Lance Gerber The residence's sloping, infill Sonora Desert location created both the project's greatest challenge and greatest opportunity. Surrounded by existing homes--two in particular enjoying a 50+ year unobstructed view over the land--made privacy and sight-lines, both from and towards the home, fundamental form givers. While seeking to improve and restore a native arroyo and its natural ground water recharge zone (this pristine area had not been touched by a previous owner's imported fill) the design set strict goals to maintain the area's native fauna and flora.  Sketch  Sketch (section) The client's program called for an open plan utilizing durable materials and resource efficient foresight to create a 3 bedroom/3.5 bath, great room living home. Taken together, with the privacy desires, openness of plan, sloping site, preservation of undisturbed land, and infill condition resulted in 3,250 square foot design formed by two intersecting rectangular bars. To capture all elements of the program, the two intersecting rectangular bars form a "T" such that the lower master wing's roof becomes the upper kitchen's interior soffit and then this line continues out again to become the exterior roof of the breezeway and garage. The continuity of wall and roof plane are clearly perceptible and are further refined by avoiding the often awkward "T" program intersection with the inclusion of an open lanai. The lanai is strategically located as an open, deeply shaded transition from public pool and great room areas to the private master wing.  © Lance Gerber With the site sloping 20' from north to south and consisting of a combination of imported fill and native desert alluvium, the design set out to preserve and capture this natural alluvial arroyo, its 100+ year old creosote bushes, and undisturbed deeply patina weathered boulders. The design made evident the natural site slope by stepping the structure's masses while preserving and reinforcing the arroyo and creating privacy from the uphill homes. Entering the home at the street grade conceals the unfolding grade change and unforeseen precession to the south pool yard and mountain views beyond.  © Lance Gerber  Plan  © Lance Gerber Underpinning the home's fusion of indoor and outdoor living are timeless passive solar strategies and cross ventilation opportunities. Finally, the home's south facing, downward sloping master wing roof has solar electric and solar thermal systems seamlessly integrated into the sloping roof, illustrating again how a building's basic parti can become the backbone for modern sustainable living. Recent electrical utility data shows the home generating slightly more energy than consumed.  © Lance Gerber  This posting includes an audio/video/photo media file: Download Now |
| Christ & Gantenbein’s Kunstmuseum Basel Photographed by Laurian Ghinitiou Posted: 21 Nov 2016 07:30 AM PST  © Laurian Ghinitiou In another photoset from his latest Switzerland trip, photographer Laurian Ghinitiou takes us inside Christ & Gantenbein's recently-opened addition to the Kunstmuseum Basel. The design, winner in an international competition in 2009, sought to create a "contemporary brother" to the original museum, opening up to the street through its angled form. The monochromatic brick facade also responds to its context and historic neighbor, while hiding a wraparound LED screen beneath to create a frieze with a technological twist. Check out the full series of shots, after the break.  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou  © Laurian Ghinitiou See more of Laurian Ghinitiou's work on ArchDaily here, and check out his website for more photography.  This posting includes an audio/video/photo media file: Download Now |
| Media City Footbridge / WilkinsonEyre Posted: 21 Nov 2016 07:00 AM PST  © Daniel Hopkinson
 © Daniel Hopkinson Salford Quays has long been a hub of activity; the docks here were among the busiest in the UK during the early years of the 20th century, handling millions of tonnes of cargo. In 1985, following the gradual decline of the docks, the area finally became the subject of an innovative regeneration plan, which brought attractions such as The Lowry and the Imperial War Museum North to the waterside. WilkinsonEyre contributed to the latest stage of its transformation with a footbridge as part of the BBC's Media City development.  © Daniel Hopkinson  Site Plan  © Daniel Hopkinson WilkinsonEyre's footbridge forms a visual landmark and sculptural gateway to the Media City site and connects it with satellite developments and attractions on the southern side of the Manchester Ship Canal. It is a critical element in weaving together the new urban grain, reinforcing links that were not there before, and helping to bring about a new sense of place.  Elevation  © Daniel Hopkinson  Plan  This posting includes an audio/video/photo media file: Download Now |
| OMR Art Gallery / Mateo Riestra + José Arnaud-Bello + Max von Werz Posted: 21 Nov 2016 05:00 AM PST  © Rory Gardiner
 © Rory Gardiner After 30 years in a turn-of-the-century Porfirian villa, the renowned contemporary art gallery OMR decided to move to a new location. The chosen site was an existing brutalist building called Sala Margolin, originally dedicated to the sale of records and books. The building's design consisted of a single large space covered by a coffered concrete roof slab under which the different sections of the store were organized by subtle changes in floor level. The roof was supported around the perimeter and by four slender concrete columns framing a central skylight, the most important light source for the space.  © Rory Gardiner The design strategy was to preserve the existing building as much as possible. A central bathroom core was demolished and some interior details toned down so as to bring out the character of the building and transform it into a generous exhibition space. In order to provide the flexibility required by the client, the concrete floor was leveled and structural wall linings were applied to the interiors, allowing the hanging of substantial artworks anywhere within the 5.5 meters room height. Accompanying the main exhibition space on the ground floor are an access courtyard, reception, technical storage space and a rear garden courtyard onto which a bar opens.  © Rory Gardiner  © Rory Gardiner A vertical extension accommodates supplementary programs in order to not compromise the existing spaces. This new top floor houses a multipurpose space, art storage, offices, a library, meeting room, kitchen and terrace. By thickening the wall that faced the rear courtyard it was possible to resolve the vertical circulation to the new top floor without affecting the structure of the existing slab. This "thickened wall" – a mere two meters wide – allowed the accommodation of a mezzanine with bathrooms as well as the opening up of the newly added interior spaces towards the courtyard by means of a modern and paired down glazed facade. Built on site using standard steel profiles and arranged in rectangular modules this façade integrates projecting windows allowing for passive ventilation. In lieu of a fixed goods lift that would have required the perforation of the existing slab or the introduction of an extra volume infringing on the rear courtyard, the facade has an openable section that allows the movement of large format artworks to the top floor via a mobile lifting platform.  © Rory Gardiner The newly built top floor is organized according to the structural scheme of the original construction, roughly forming a 9-square grid layout that provides a maximum of flexibility by allowing a variety of ways to subdivide space and distribute circulation. On reaching this floor, visitors discover the large multipurpose space that functions as an extension of the main exhibition gallery, a showroom, a work space and a place for workshops and lectures. In keeping with the position of the original skylight, the library becomes a new central light space that articulates all other functions. Facing the street is a more private space where the meeting room, kitchen, executive office and terrace are situated. The terrace is the result of a 4-meter setback of the top floor which functions as a mediating element towards the street, keeping the proportions of the original facade intact and allowing for a discreet intervention. A lateral staircase leads from here to the rooftop effectively creating an extension of the terrace during larger scale social events. In turn, this space has been conditioned to function as an outdoor workshop where part of the preparatory work for exhibitions is done.  Section The result is a sober project that amplifies the character of the original building whilst preparing it for a new cultural life without falling back on the international conventions of the sterile white cube.  © Rory Gardiner  This posting includes an audio/video/photo media file: Download Now |
| Hugh Martin & Partners' Princes Square Named Scotland's Building of the Century Posted: 21 Nov 2016 04:10 AM PST  © Jean O'Reilly The Royal Incorporation of Architects in Scotland (RIAS) has announced Hugh Martin & Partners' Princes Square as Scotland's Building of the Century at the finale celebration of Scotland's Festival of Architecture 2016 in Dundee. Open to buildings built in Scotland in the past 100 years, voters selected the winning building from a 10-strong shortlist that included projects by Enric Miralles and Reiach and Hall Architects.  © Jean O'Reilly Located in the heart of Glasgow's Style Mile, Princes Square was renovated into an iconic multi-level shopping center and public space by architects Hugh Martin & Partners in 1987, preserving and restoring the original building while creating a modern shopping and dining venue "of quality and distinction."  Courtesy of Princes Square Distinctive for its main entrance guarded by a giant metal peacock, the building features whimsical architectural elements throughout, such as symmetrical criss-cross escalators and spiral staircases, and is capped by a airy glass roof. Hugh Martin & Martin have won numerous awards for the renovation, including the RIBA Scottish Regional Award for Architecture (1988), the Edinburgh Architectural Association Centenary Medal (1989), and a Civic Trust Award (1989).  © Jean O'Reilly The award was organized as part of the traveling Scotstyle exhibition, which has visited over 30 venues throughout Scotland, telling the stories of Scotland's top 100 buildings of the past century. "The Festival of Architecture has tapped into a keen public appetite for architecture and events on an architectural theme," said Neil Baxter, RIAS Secretary and co-editor of Scotstyle. "With over 460 events and well over a million participants, it is the most substantial ever year-long celebration of a single art form in Scotland's history. Princes Square is a worthy popular choice for the best building of the last 100 years."  © Jean O'Reilly  © Jean O'Reilly More information on the award and the Scotland Festival of Architecture 2016 can be found here. News via RIAS.  This posting includes an audio/video/photo media file: Download Now |
| Karlovac Freshwater Aquarium and River Museum / 3LHD Posted: 21 Nov 2016 03:00 AM PST  © Miljenko Bernfest
 © Miljenko Bernfest From the architect. The Karlovac freshwater aquarium is located by the river Korana. The building volume is partially dug into the ground and covered with earthen embankments and greenery from its outer edges. The design concept was inspired by the city's historic center "Karlovac star" surrounded by "Šanci" – defensive earthen walls and mounds. The goal was to form a new city focal point and to validate the promenade by the river. Three walking routes were formed: towards the city center and the river; towards the south and the sports and recreational center; and towards east and the road access. A new point is located at the junction of the walking routes - a square around which all of the aquarium facilities are located: entrance spaces, souvenir shop, cafe bar, library and offices.  © Jure Živković  Ground Floor  © Jure Živković The aquarium exhibition displays the flora and fauna of Croatian rivers and their ecosystems. The display layout follows the flow of a karst river – together with its flora, fauna and biodiversity. The exhibition starts outside, with a water surface on the square. It continues inside the building with a system of ramps that wind like a river down into the basement level because specific plant and animal species require complete control of lighting conditions in order to survive. Aquariums are placed along, above and below the visitor paths. Along the pedestrian ramps the fish are first observed from above, as they are when walking along the river; and then from the sides - they can be seen below the water surface. After the headwaters (upper part of a river) the sounds quiet down, visitors plunge into caves that feature endemic species which are often found in subterranean streams. The space expands, lighting comes from the tanks, and visitors can take a break in the central area, listen to the sounds recorded in caves, and observe the exhibited endemic species. After the cave, the visitors arrive to an aquarium with larger specimens of rare species that have disappeared from their natural habitats in Croatia. The visitors can observe the fish and aquatic plants that live in warmer parts of the riverbed. The aquariums are seen from the side, and then from underneath as the visitors walk into a tunnel that evokes immersion into a river. After the tunnel, visitors pass through a series of aquariums with water lilies and rushes usually present downstream, in the marshy habitats of a river. The exhibition ends with a system of cascading aquariums whose biotopes display waterfalls and a travertine barrier.  © Jure Živković  © Jure Živković Finally, a stairway and an elevator return the visitors to the entrance hall through the gift shop. A space for analysis of the technological parameters of water, a scientific research center and fish aclamatization spaces are located in the center of the layout.  © Jure Živković  © Jure Živković Karlovac freshwater aquarium is co-financed from the European Regional Development Fund under the "Regional Competitiveness" 2007-20013 Operational Programme. The total value of the project is 36.691.939,28 Kuna's, of which the grant from the European Regional Development Fund is 36,222,282.45 Kuna's.  © Jure Živković Product Description. Pigmented concrete The concrete used on the façade is pigmented and produced by a special in-situ method right on the construction site. A special type and size of grain was selected to achieve the desired effect – to make the façade color resemble the color of ground/soil. First, the concrete is carefully applied on the hull, vibrated in layers and cultivated for a period of time. Before it is mounted on the façade the hull is coated with a cement milk retardant to slow down the binding process in the concrete. After the hull is removed the concrete surface is washed to obtain a specific texture. The mineral grains become visible and clearly define the structure and texture of the complete and solid concrete surface.  © Jure Živković  This posting includes an audio/video/photo media file: Download Now |
| "Creative Cynic" Peter Cook Explains Why Archigram Designs Were Always Meant to Be Built Posted: 21 Nov 2016 02:30 AM PST Last week ArchDaily attended the 2016 World Architecture Festival in Berlin. We chatted with Sir Peter Cook and asked him about the current state of global affairs (Brexit, the US election, etc). He explained how his experience and work has influenced a career that has spanned over five decades, and reminds us of the inspiring power of architecture. Peter Cook: You have to understand that I'm a very particular kind of animal both politically and in my general opinions. I'm what I would call a creative cynic. I'm an old person and I've seen a lot of not very good things happen. On the other hand I was privileged as a child to have free education and free college.  Peter Cook. REAL CITY: Perspective of Everscreened Type, 1986, tracing paper, ink, 64 x 62 cm © Peter Cook I don't see things in the extremely black and white. I think there are variants on the not quite right and variants on the nearly possible. And so I think even in the Archigram days my projects were actually based upon a kind of liberal tradition. Although the mechanics looked outrageous, perhaps, the actual society that I was imagining into them was what I would call an North European liberal society, such as I actually grew up in. Of this made—there's a tendency away from that. And my great belief in Europe, which I did before there was even an EU, was that one had seen all these countries fighting each other—I was a child at the war time, and I heard bombs dropping—and you saw all these countries coming together and that seemed wonderful, irrespective if there was a bureaucracy or not. In a way, I think the architectures that I make is based upon an optimism. Optimism with a side knowing that it won't quite happen, but not saying "Oh! All is terrible!" or "Oh! All is wonderful!" It's, "Yeah, it's going to be a bit better or a bit worse." That, of course, is a very English attitude. That we're survivors. It's interesting that when sometimes there are these economic downturns, for example in Spain when there was the last economic downtown, everyone said "It's all collapsing, what are we going to do, what are we doing to do!" The English said, "Hmm it's not so good, but it'll get better." And then things are good in England and they say, "Uh, any minute it's going to go down." And it's a kind of protective tissue which is very funny for foreigners. My wife is not English and she can never understand how we have this—we're never totally optimistic and we're never totally pessimistic. We say, "Well, let's keep going and something will turn up." And you have to put my architecture in that perspective. It's what I would call liberal in a traditional sense of liberal. It's inquisitive, reasonable, it's to the left but not extreme left, it's beneficial for the underprivileged, but not in an extreme way. It uses the economic system that we have, as long as it doesn't go extremely badly. And I think this is difficult, particularly for Latin people or Mediterranean people to understand. They say, "What turns you on?"  Drawing Studio / CRAB Studio © Richard Bryant arcaidimages.com You can use your imagination of course, and when I was doing the Archigram stuff I always thought it could be built. If you looked at it, it had handrails, it had toilets. And the toilets were the right size and the escalators were the right pitch. I always used to get irritated by people from other cultures who'd say, "This is a wonderful scheme; this is the city of the future." And you thought, "How the f*ck are you going to walk around on it! You're going to fall off the edge." So, you have the bear that in mind, and therefore I don't see any divide between what I was showing before lunch there, the blue thing [Drawing Studio at Bournemouth University], which is actually built, and what I was drawing in Archigram. That [project] looks a bit unusual in an English university, but it's only what we were doing in Archigram. And Archigram looked a bit unusual but actually it could have been built, and that was what was very interesting when I built the Graz building—that you could do that. And yet, people for years had been saying you couldn't do our kind of stuff. And then you say, "F*ck you, look there it is!" What do you do then? And I think it's… in a way a rather cynical background. You somehow can do things because the cynicism is a protective crust for what is fundamentally optimism. And there you are.  This posting includes an audio/video/photo media file: Download Now |
| 16 Tips To Improve Your Model-Making Skills Posted: 21 Nov 2016 01:30 AM PST  © Tim Viktorsson Virtual 3D Modeling has for decades been increasing in its popularity, yet hand-made models are far from extinct. Perhaps a reason for this is that despite the "3D" in "3D modeling," viewing those models on a screen or print is still, effectively, two-dimensional. A physical model of course can be held in your hand, examined and understood spatially in a way that a CAD model can't. It can also be used as a quick and intuitive 3D sketch to get some ideas going. Whether it's for a client or a professor, models are almost always necessary in order to produce a complete understanding of the relationship between spaces in your design. To make the most use of this tool, read on for tips on how to improve your modeling:  © Ariana Zilliacus 1. Use the Right ToolsHaving the right tools for building your model may not be everything when it comes to model making, but it sure will separate a good model from a great one. You don't want to waste time trying to find a less-than-suitable substitute for a missing tool. However, listing all the essential tools calls for a post in itself; take a look at this one to get started.  © Fruzsi Boutros 2. Use High Quality Cutting ToolsWhen building a model you will always need to cut up some material or another in order to suit your needs, making this specific tool somewhat more important than many of the others (with the exception of glue perhaps – more on that later). Getting that clean edge adds another level of neatness; it may not be fully appreciated, but trust us, its absence is always noted. Get your hands on a good utility knife with a set of exchangeable blades; a blunt knife is often more dangerous than a sharp one. A good pair of sharp scissors comes in handy too, especially when you don't want to spend hours making delicate cuts using a knife for a simple sketch model.  © Fruzsi Boutros 3. Carefully Choose Your MaterialsAlthough your model may not always be an exact miniature of a full-scale building, the materials you select to represent it are important. Firstly, you want your model to narrate something about your project; having carefully chosen materials, as opposed to a model entirely made of card, will help to immerse others in that narrative far more effectively. Secondly, you want to make sure that the materials you use are easy enough for you to work with; a model should supplement your project, not hijack all of your time.  © Tim Viktorsson 4. Use a Laser Cutter if NecessaryIt's not uncommon to already have a CAD model on your computer, but it is uncommon, in such a situation, to have the motivation to recreate the entire thing by hand. In this case, laser cutting may be a favorable alternative. The trick with laser cutting is to set up your virtual model correctly, in order to make it possible to cut and piece together. It's likely that you'll be more restricted regarding your geometry, and tip 3 comes into play here too: unless you want to start a fire, the thickness of the material you use may be limited, and if you're planning to use wood then you should have a plan to remove or cover up those freshly-burned edges. If you're trying to get something very organic produced from a 3D model, 3D printing is probably the way to go.  © Ariana Zilliacus 5. Use Sketch ModelsThinking spatially is a tricky thing, even for architects. Sketch models, especially flexible ones that aren't permanently glued together, can be excellent tools in themselves when trying to figure out how to compose the finished model or overall architectural design. These models have the appeal of not needing to look so polished, nor do they take too much time to make.  © Jenny Plym Askim 6. Think About Your LightingEnsuring that your working environment is properly lit is essential in preventing your eyes from straining themselves, as well as enabling you to see the details in your model and avoid mistakes. Models can also result in beautiful photographs, but only if you have proper lighting set up.  © Ariana Zilliacus 7. Make Sure You Have Enough SpaceMaking enough space for yourself before beginning on a model is something your future self will thank you for. Model making can get messy and confusing very quickly if one doesn't have a big enough or organized space. Setting up a trashcan, for example, for left over scraps, or having a cutting area separated from an assembly area, can make the experience much more pleasant and prevent you from losing your gumption.  © Jakob Breidablik, Panuela Aasted, Ane Norderhus, Christian Graugaard 8. Select the Right AdhesivesAs mentioned earlier, alongside cutting tools, getting your adhesives right is one of the most essential parts of model making. Nothing, nothing is worse than showing up with a model that is ready to fall apart at the slightest touch—except, perhaps, showing up with a model covered in drips and strings of glue. Here is an extensive list summarizing the best types of glue and tape for different types of models and materials. Bookmark it and use it wisely.  © Tim Viktorsson 9. Wash Your HandsOne source suggests washing your hands every 30 minutes, and while this may be a tad excessive for some, washing your hands more often than usual is probably a good thing, especially when working with a white material. The oil and dirt that begins to accumulate on your fingers may not be obvious to you until you see it on your completed model. By that point, it'll be too late.  © Tim Viktorsson 10. Anchor the ModelA model always represents a real building project, which always has a site or context; don't forget the context! Having a solid base is so much better than having a model floating in thin air. Models require something to anchor them down and give them that final touch, or as one source calls it, the equivalent of a "picture frame."  © Tim Viktorsson, Aja Borby Ørtenblad, Andreas Zacho, Klaus Wahid Knudsen 11. Decide on a ScaleScale can be a game changer. Not only will it determine the level of detail and space that can be seen, but also the amount of time you spend on your model—and contrary to popular belief, smaller isn't always faster. Spending hours cutting meticulous, small elements using your X-Acto knife is something you'll regret when you could just as well have chosen a larger scale and used scissors.  © Fruzsi Boutros 12. Be Selective in What You ShowThere will never be enough time or money to include everything in a model, so make sure you know what your model is aiming to communicate. Is it illustrating the essence of your project or concept, or is it showing a technical section of a wall? This will help you to cut out materials and time, including only what's essential.  © Ariana Zilliacus 13. Show Something NewIn certain cases, models are near-replicas of drawings, however in an ideal world they shouldn't be. A model should enhance a set of drawings, showing another level of depth that drawings may not be able to communicate. Develop your project a step further in your model, in order to get the most out of your time and resources.  © Fruzsi Boutros, Ariana Zilliacus, Andrea Ougaard, Aniella Goldinger 14. Make a Time PlanBefore getting started on your model, write up a time plan to keep you on track for your deadline. This is to ensure that you show up with a model that can stand on its own and withstand the examination of others (in other words, a completed model) but also so that you don't end up sacrificing too much of your time that should be allocated to other work. Be realistic with your time plan; as stated earlier, nothing is worse than a model ready to fall apart.  © Fruzsi Boutros 15. Ask for AdviceIt's difficult, if not impossible, to know everything about every material and tool that you may need to make you model. Don't be afraid to ask for help or advice from friends or experts; "there's no such thing as a stupid question," or so the saying goes.  © Jakob Breidablik, Panuela Aasted, Ane Norderhus, Christian Graugaard 16. PracticeMake mistakes and learn from your experience. The more models you make, the better they will become. Writing down the difficulties you've had, and what you've learned in order to solve them, could be a valuable resource to have a few months down the road when you run into a similar problem on your next model. Practice makes perfect. All images are courtesy of students at the Danish Royal Academy of Fine Arts.  This posting includes an audio/video/photo media file: Download Now |
| Atlas Hotel Hoian / Vo Trong Nghia Architects Posted: 21 Nov 2016 01:00 AM PST  © Hiroyuki Oki
 © Hiroyuki Oki ATLAS HOTEL HOIAN is located in Hoi An's "Old Town; an area which has rapidly grown since it was officially named by UNESCO as a World Heritage Site. Recently, most of the ancient houses have been converted into shops and restaurants that serve the daily influx of tourism. The neighborhood is well known for its beautiful tiled-roofscape and its internal courtyards that provide a layered spatial quality between the inner and outer spaces. This quality has been slowly eroded due to chaotic commercial flow. As a consequence, Old Town has lost its charm of a calm and peaceful lifestyle.  Groundfloor plan Located in an irregular plot of land, the design approach of Atlas Hotel is to turn this constrain into its unique character. The linear layout is divided into several internal courtyards, and by lifting the building above the site, it completely frees the ground floor to create an inter-connected network of courtyards. This spatial quality reflects the dynamism of the new Hoi An but also retains the charm of the Old Town.  © Hiroyuki Oki  © Hiroyuki Oki The five story hotel includes 48 guest rooms as well as various leisure functions such as restaurant, café, rooftop bar, spa, gym and swimming pool. Due to the complexity of the site, each guest room is shorter and wider than typical hotel rooms. Rather than a problem, this presented an opportunity for the rooms to have greater access to greenery not only from the bedroom but also from the bathroom.  © Hiroyuki Oki The building façade is clad with locally-sourced sandstone pieces used in combination with an exposed concrete slab and a series of planters along the corridors. The planters are arranged along the entire façade of the hotel not only provides solar shading but also allows cooler air to ventilate the spaces. In addition, the perforated stone walls admit daylight without blocking air flow. This scheme allows the place to be naturally ventilated to minimise the use of air conditioner. The use of these green and natural elements embodies the particular interest of the office and the House for Trees concept: to integrate greenery into design as a way to rejuvenate urban areas and to contribute to societal improvement. At its core, Atlas Hotel reconnects man with nature.  © Hiroyuki Oki  This posting includes an audio/video/photo media file: Download Now |
| Gentrification's Image Problem and How It Has Been Villified Posted: 21 Nov 2016 12:00 AM PST  Revitalização da High Line, linha férrea desativada de Nova York, elevou os preços dos imóveis da região. Image © Steven Severinghaus, via Flickr. CC The idea of revitalizing a public space by bringing improvement that brings people together should not generate suspicion or fear. However, specific examples of places that have seen the cost of living greatly increase after their revitalization have been creating paradoxes. After all, does this "new villain" called gentrification have any relation to placemaking? The answer, unfortunately, is yes. Although it's not a direct relation of cause and effect, it is impossible to deny the tenuous line between the two concepts. By definition, gentrification, or "ennoblement," refers to the social, cultural, and economic improvement of a neighborhood or, on a larger scale, of an entire region. Placemaking is the process of planning quality public spaces that contribute to the well-being of the local community. The concepts may be similar, but the methods and consequences of the two are very different. The idea behind placemaking originated in the 1960s when writers like Jane Jacobs and William H. Whyte began to develop innovative ideas about creating cities that catered to people, focusing on the importance of inviting and living neighborhoods. The term gentrification was coined in 1964 by the British sociologist Ruth Glass to describe the flow of people of the middle class that displaced inhabitants of low class of urban districts. Glass illustrated gentrification by citing the example of the Islington neighborhood in north London where modest and old cottages were bought up and turned into elegant, expensive residences when their permits expired.  © Dylan Passmore, via Flickr. CC Today, it is this same process that turns gentrification into a villain. Residents are displaced when they can no longer pay for housing, utilities, school fees, and other services offered in the neighborhood due to the growing wealth of the area. The blurring between terms begins when investments in public spaces are likely to result in even greater potential investments for the area. In this complex process, it is difficult to deny the relationship between the improvement or development of a public space and the consequent increase in the value of the surrounding land. However, the placemaking process is not a direct cause of gentrification. The difference lies in the factors that motivate the two processes. Placemaking is no longer placemaking when it stops considering the opinion of those living and working in the area. Making decisions with the genuine contribution of the community and the recognition of their needs and wants is what defines the process. The transformations must start with the very community that uses the space. Gentrification is guided, with or without the influence of the government, by economic objectives, involved in the process of enhancement and devaluation of urban spaces over time. This can happen especially when upper-class districts can no longer sustain the number of inhabitants, who then look to settle elsewhere.  Mural no Mission District sinaliza gentrificação. Image © torbakhopper, via Flickr. CC This process is widely debated in the US city of San Francisco. Urban Displacement, a University of Berkeley site, has developed a map showing the types of displacements in the region and indicates several areas in the advanced stage of gentrification. The relocation of various tech companies is commonly given as the culprit for the transformation of the city. The cost of housing and the large amount of a new class of workers has made neighborhoods like the Mission, famous for the presence of Latin American immigrants, enter a phase of transformations.
In São Paulo, the Minhocão Park project has been carefully studied due to fears that it will become another example of gentrification. The project, sanctioned in March by Mayor Fernando Haddad, aims to gradually transform an elevated highway that cuts through São Paulo's city center into a recreational area. Currently, Minhocão is closed for almost 40 hours during the weekends. "We are concerned about gentrification in the area because we don't want to drive anyone out," said the mayor. To this end, Haddad said he would suggest to the sub-prefect of the area to create a Management Council made up of residents. Although the phenomenon of gentrification is becoming common in large cities, local improvements shouldn't be seen as threats. What the urban critic Matthew Yglesias calls "gentrificationphobia" can generate an excessive fear of progress and delay projects that communities need. Advances may increase the value of land, but don't need to evict the inhabitants. The way projects are run is what determines their results. Knowledge about gentrification and placemaking emphasizes the importance of creating spaces for all, spaces that connect areas, rather than dividing them. Neighborhoods need to be identifiable and maintain their natural qualities, things that have been developed over time. Avoiding gentrification keeps history from being erased.  This posting includes an audio/video/photo media file: Download Now |
| Castle Resort: Call For Entries Posted: 20 Nov 2016 11:00 PM PST  Courtesy of YAC Young Architects Competitions YAC and Marlegno s.r.l. launch Castle Resort, an open architectural competition aiming at the landscape renewal of the area around the Castle off Roccamandolfi, in Southern Italy. The competition is in cooperation with the Italian State Property Agency – Italian Government, the Municipality of Roccamandolfi, Touring Club, Associazione Italiana Confindustria Alberghi, the University of Bologna. The internationally-renowned jury gathers, among the others, Eduardo Souto de Moura, Todd Saunders, Alain Laurens of "La Cabane Perchée". A total of € 20.000 in prize money will be awarded and winner projects will be published on international architecture and design platforms. There are places which belong to the inner being. There are destinations first engraved into the unreal, then on a map. Architectures of the soul, capable of helping us escape from our everyday life and freeing us from space and time. Castles are among the architectures that can, in a more pronounced way, whisper into the heart of human beings. They often are located in marvelous spaces, sheltered in inaccessible and isolated places. These are oftentimes magical places, full of plots and heroism, uncontrolled passions and unspeakable secrets. Located in a fairy‐tale landscape, the Castle of Roccamandolfi seems to come out from the ancient legends of chivalry. A medieval fragment which encompasses the ancient times and can still fascinate with its long‐standing charm. The castle stands on a steep hill, towering over a cliff, forests, and sunsets. Sketching out over an enchanting landscape, in need of new forms and ideas to allow its protection and the ongoing promotion of such a priceless heritage. "Valore Paese", the Italian State Property Agency's project for the reprocessing of the national architectural heritage, moves into this direction. Aimed at enhancing the historic and landscape value, it builds dream tourist facilities which take advantage of their own natural background to involve visitors in this unique and unforgettable holiday experience. How does one convert a medieval fortress into an exclusive tourist facility? How do you combine architecture and nature and aspire to become a worldwide destination? Using these intriguing questions as inspiration, Marlegno, in partnership with the Italian State Property Agency – Italian Government, wants to promote Castle Resort and invites designers to let themselves get swept away by the charm of this abandoned fortress. To conceive a fabulous accommodation facility, plunged into a majestic nature and set among the traces of an impressive castle. A dream place, capable of inspiring the imagination of every tourist who visits and offering a timeless holiday. All wrapped up by the comfort of modern life mixed in with ancient remains. Jury
Prizes
Calender
For more information visit: www.youngarchitectscompetitions.com
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| Article 25's "10x10" Auction Features Work by Zaha Hadid, Kengo Kuma, Richard Meier & Antony Gormley Posted: 20 Nov 2016 10:00 PM PST  Kyle Henderson. Image Courtesy of Article 25 In celebration of their 10-year anniversary, Article 25, the world's largest architectural charity, will hold this year's "10x10 Drawing the City London" event on November 29 at the Royal Institute of British Architects. Each year, representatives from UK's top architecture studios and property and design industries gather to raise funds for Article 25's work in developing countries. The event features an auction of artwork by 100 prominent rising artists, designers, and architects; this year's participants include Kengo Kuma, Richard Meier, Antony Gormley, Zaha Hadid Design, and David Adjaye.  Roger Fitzgerald. Image Courtesy of Article 25 Article 25 works for human rights by designing, building, and managing projects that provide necessary buildings in the world's most vulnerable communities. The organization has completed 82 projects and raised over £500 thousand for their work to date. Current projects include the reconstruction of a hospital in Nepal, design of a solar system installation training center in Burkina Faso, and planning of an inclusive preschool in Tanzania for disabled children.  Will Alsop. Image Courtesy of Article 25  Fuller. Image Courtesy of Article 25  Peter Murray. Image Courtesy of Article 25  Karl Singporewala. Image Courtesy of Article 25  Laurie Chetwood. Image Courtesy of Article 25  Charles Holland. Image Courtesy of Article 25 You can support Article 25 through their live online auction here. News via: Article 25  This posting includes an audio/video/photo media file: Download Now |
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