Arch Daily |
- BNL-BNP Paribas Headquarters / 5+1AA Alfonso Femia Gianluca Peluffo
- Le Signe National Centre for Graphic Design / MOATTI-RIVIERE
- Casa RJ / Archiplan Studio
- MU:M Office Building / Wise Architecture
- Brick House / A for Architecture
- The Garage / Neri&Hu Design and Research Office
- Bêka and Lemoine's Documentary Film on BIG's "8 House" To Be Screened Exclusively on ArchDaily
- Lean To House / Warc Studio
- 12 Projects Recognized as 2016 NYC Public Design Commission Award Winners
- Ermita del Santo Sepulcro Rehabilitation / Héctor Fernández Elorza + Manuel Fernández Ramírez
- 17 Excerpts from OMA Publications To Read and Download
- Platanenkubus Nagold / Ludwig.Schoenle
- Kengo Kuma Unveils Designs for Residential Superstructures in Moscow
- K21 Skardsøya / TYIN Tegnestue Architects
- 39 Strange Habits Most Architects Can Relate To
- Museum of Contemporary Art & Planning Exhibition / Coop Himmelb(l)au
- New York City Mapped All of its Trees and Calculated the Economic Benefits of Every Single One
- Mola Structural Kit II: Another Way to Learn About Structures
- Home in Mitre / Bajet Giramé
| BNL-BNP Paribas Headquarters / 5+1AA Alfonso Femia Gianluca Peluffo Posted: 28 Nov 2016 09:00 PM PST  © Luc Boegly
 © Luc Boegly From the architect. The design of the new headquarters of BNL is part of a particular and unique context. Unique because the nature of the context is a layering of infrastructures that are separated by two important urban areas of the city of Rome, thanks to the construction of the station for high-speed rail, which leads to a new role, not only in terms of services service but also as "urban place". Particular because the area where the new building will stand, due to its geometric shape and topography and its relative orientation, suggests to design the building according to the principle of "Janus". We consider it important that the new building develops a dialogue with the adjacent complex of Tiburtina railway station, with its main features characterized by size and horizontality. The dialogue does not necessarily have to be direct, but should have references both to perspectives and to the different levels of the station, and also a different role (the horizontal stratification) in the new urban landscape.  © Luc Boegly  Section  © Luc Boegly Our goal is to meet the functional needs with a building that is capable, in its autonomy and identity, to belong to the urban context of the Tiburtina Station and at the same time to be representative both for the city of Rome and for its users.  © Luc Boegly From these considerations, a proposal is made for a building that is able to relate differently to the north-west with the district Pietralata and south-east with the Tiburtina Station complex. Dynamic, reflective and fading, where its perception is mainly dynamic and different meter after meter (from the train, from the station, from the different areas of the city), almost as if it was moving, comparatively, where the context is urban or "slow", facing North, the perception is static transparent and material.  © Luc Boegly  Section  © Luc Boegly The building thus assumes different roles leading our imagination to important works of contemporary artists and filmmakers who have treated the themes of perception and "reflection" of reality.  © Luc Boegly  This posting includes an audio/video/photo media file: Download Now |
| Le Signe National Centre for Graphic Design / MOATTI-RIVIERE Posted: 28 Nov 2016 07:00 PM PST  © Michel Denancé
 © Michel Denancé Our project is composed of large-scale planes installed within the city. The architectural design takes its imprint from the universe of graphic design and from the objects and supports that have always invested this art form and continue to do so today: the poster – the sheet of paper – the page – the screen – the billboard.  © Michel Denancé These large planes are made of stone and compose the walls and roofs. They are rendered abstract by their thinness with 12cm thick panels: stone siding with an aluminium honeycomb core. This rigid material gives the stone its finesse.  Section  Section These juxtaposed or superimposed planes are close to or distanced from one another. Between them relarge areas of glass, vast surfaces that can be closed off with curtains. In this way, one can see the interior of the space from the exterior.  © Michel Denancé Stone and glass compose simple or complex wholes to respond to the different roles of the street façades:  © Michel Denancé Minimalist graphic design as an epidermis of the architecture  Axonometric Two screens of regular, orthogonal dots graphically structure the stone sheets of the Centre. From above, a screen of metal dots on the monumental scale of the building comes down to the height of a person, connecting with a screen of smaller, screen-printed dots.  © Michel Denancé In its upper part, the screen can function as a picture rail or cyma to receive signs and images in any format. The free wall spaces offer their screened surfaces to the invitees of special events, proposing that artists such as typographers, poster artists, graphic designers and illustrators make use of these surfaces.  Floor Plan Level 00 The screened surfaces of the stone offer multiple uses, lending support to events, signs and drawn, still or projected images. These "visual" usages are guarantees for the capacity of the architecture to incarnate and transmit the essence and topicality of the place, its legitimacy and boldness.  © Michel Denancé They thus make it possible to renew and bring up to date all writings and movements, from heritage works to contemporary graphic design.  © Michel Denancé Product Description.  Floor Plan Level 01  © Michel Denancé  This posting includes an audio/video/photo media file: Download Now |
| Posted: 28 Nov 2016 06:00 PM PST  © Davide Galli Atelier
 © Davide Galli Atelier From the architect. The project involves the recovery of an entire multi-storey building of 500's located in the consolidated urban tissue of the city of Mantua, in which the apartment constitutes a portion. The project deal with the topic of a luxury home, stating its condition of belonging to this ambit through the research for a spirituality of the spaces that is expressed in the study of the details and in the sensuality of the materials that has been used. The house is characterized by its decorations in the ceilings and in some walls dating back to 500's and the first half of 800's, the project maintains its layering of signs in their ambiguity without drawing a philological selection. The distribution organization of the spaces is maintained in original condition, while the subdivision of the interior spaces happens through the introduction of elements of furniture that reconfigure in part the structure, specifying the hierarchies. The project proceeds by layering of elements that overlap without vanishing.  © Davide Galli Atelier  Floor Plan  © Davide Galli Atelier  This posting includes an audio/video/photo media file: Download Now |
| MU:M Office Building / Wise Architecture Posted: 28 Nov 2016 02:00 PM PST  © Kyung Roh
 © Kyung Roh From the architect. The nest of Yellow Owl : Mum.  Concept The District 1 in which numerous buildings come together and define spaces is created as a culture & arts complex for publishing/music industry whereas the District 2 is planned by solving various problems found in the District 1 and arranged to accommodate even more companies. And there, inspired by the atmosphere of this culture & amp; arts complex, many companies have built their own buildings displaying all sorts of unique characters.  © Kyung Roh Located in District 2 block 9, Mum is an English education company having a logo where an owl with big black eyes appears on a yellow background. The logo has a story of the adventure, challenge and passion of a yellow owl Mu; which sets out to search for the 13th planet of the solar system. the last uncharted planet M.Impressed by the logo, the architect, in the early stage of design, suggested a nest-shape building as he wanted to introduce a space where the owl can rest comfortably. However, in the end, the building is finalized in the form of a stump looking naturally settled down on the ground.  © Kyung Roh  Section  © Kyung Roh Entirely covered with black brick, the building has a twisted rectangular shape, and its entrance defined by the incised surface of the distorted structure makes it difficult to distinguish between the front and the back. In contrast to the torn entrance, 2m×2m large windows are installed as openings in order to enhance the sense of openness on the lower floors. To block out the excessive light flowing into the upper floors, the architect designed lintels to be closed gradually rather than installing smaller windows on those floors. And by using the twisted form and repetitive wall pattern, the architect gave a sense of rhythm to the black building which can look plain.  Sketch Study  © Kyung Roh  Detail As the Paju Book City area except for its reserved building construction sites is well arranged systematically, and considering that the area's cold climate condition, the building is designed as introverted rather than as extroverted. In the atrium of the building, a vertical circulation which runs throughout the whole building and a terraced vertical garden meet at right angles. The building's exterior is formed in a rectangular shape whereas its interior is composed with a T-shape atrium and ㄷ-shape office area. This specific solution enables the light from the outside to come deep inside through the atrium and so bright up the whole area. The atrium garden allows people to enjoy a brief rest without going outside, and the vertical circulation encourages communication among them and so ends up making the building more lively.  © Kyung Roh  This posting includes an audio/video/photo media file: Download Now |
| Brick House / A for Architecture Posted: 28 Nov 2016 12:00 PM PST  © Hemant Patil
 © Hemant Patil From the architect. The brick house occupies a land parcel of 800 sq. on the suburban edge of Pune - with a reserve forest on the rear and a dense urban housing on the access road to the front. So, the site creates an interesting opportunity to flip a typical suburban house condition and open up the major public areas to the backyard garden looking towards the forest beyond. Instead of the mundane suburban street the strategy here is to evoke a feeling of living in a hinterland.  © Hemant Patil The house is conceived as an introvert form with a solid mass of brick which stands still and bold from outside. The dynamic play of light and volumes is revealed only when one enters and walks through different spaces inside.  © Hemant Patil The living with its large volume is designed as a public node surrounded by built spaces which opens up to the backyard verandah allowing a seamless view of the lawn and forest beyond. The east-west orientation of the living space welcomes the warm morning sun and some migrating birds and peacocks from the forest occasionally. The cooking, dining and sleeping areas are aligned to the south and west of the site to protect the living areas from direct heat.  Exploded Axonometric Each bedroom is designed considering the intuitive usage of space with inbuilt seating and furniture to go beyond the normative idea of formal living spaces. Each bedroom has got three different types of windows, one for seating -to enjoy interior courts, another small window for cross ventilation and the third is a balcony to go out and enjoy the distant landscapes.  © Hemant Patil The space is composed of all natural and earthy materials like the Black Granite floor - a reference to the monolithic basalt plinth of typical historic temples and forts in the region. The exposed brick walls constructed using Racking Monk bond - resembles the traditional Indian weaving patterns and adds a different value to the most conventional material like brick, the wood veneered ceiling which floats above the public areas with pergolas at the edges and the center of it, creating an ever changing pattern of light throughout the day, making it a unique experience to be in the space at different times of the day and finally, the grey-green cement box windows with operable louvered teak windows frame the views of the surrounding garden and distant forest.  © Hemant Patil This house is an attempt to create a level of privacy within the urban environment, where the users could interact with each other and nature as playfully as possible. Keeping all the formal layers of life aside and take a pause from the busy life of the city.  © Hemant Patil Product Description. The exposed brick walls constructed using Racking Monk bond resembles the traditional Indian weaving patterns which creates a play in the volumes.  © Hemant Patil  This posting includes an audio/video/photo media file: Download Now |
| The Garage / Neri&Hu Design and Research Office Posted: 28 Nov 2016 11:00 AM PST  © Pedro Pegenaute
 © Pedro Pegenaute "I think that cars today are almost the exact equivalent of the great Gothic cathedrals; I mean the supreme creation of an era, conceived with passion by unknown artists, and consumed in image if not in usage by a whole population which appropriates them as a purely magical object." –Roland Barthes, Mythologies  © Pedro Pegenaute  Diagram  © Pedro Pegenaute In a city of 26 million inhabitants and 7 million vehicles, being trapped in a car in Beijing's notorious traffic is a compulsory experience in the capital city. Neri&Hu's approach to the architectural renovation and interior design of an Automobile Service Center in Beijing attempts to recapture the allure and magic that was once associated with cars. Along with a café and offices, the project as a whole is conceived as a workshop space, partly raw and partly refined, it is activated throughout with the energy and spirit of the industrial era.  © Pedro Pegenaute Architecturally, the former missile manufacturing factory is largely kept intact; three of its four brick walls remain untouched. With the addition of a new steel frame structure, a third level is added to accommodate the client's capacity needs. Demonstrating a certain tectonic candor, the tripartite of elements—existing brick building, steel structural frame, and inserted white volume—are visually distinct and legible on the façade. A series of black metal frames redefines the rhythmic window openings, while mirrored glass provides textural intrigue to the mostly monochromatic base. Raw steel edged glass garage doors at each of the vehicular entries are marked with custom graphics and signage to guide visitors to distinct areas along the building's nearly 100m length.  © Pedro Pegenaute  Plan  © Pedro Pegenaute  Section  © Pedro Pegenaute Sitting within the white volume of the building shell at the west end are the main function spaces—office, café, and car lift—each expressed as modularized steel and mesh boxes, a subtly refined interpretation of industrial storage facilities. Mezzanine platforms, stairs, and walkways float amidst the mysterious black cages, such that cars and people are constantly circulating about. The café and the automobile workshop together, a somewhat surreal juxtaposition of functions, begins to generate moments of spectacle. Looking back down between the structural beams, peering through the layers of mesh and mirror, there is an allusion to the back stage of a theatrical set. Patrons of the café can voyeuristically steal glimpses of the cars and mechanics, marveling at their performance while enjoying a delightful refreshment.  © Pedro Pegenaute While the brutality of the concrete and steel material palette, the unadorned authenticity of the metal assemblage, are inspired directly by the industrial approach, an additional layer of luxuriously textured materials—walnut timber and brushed bronze—provides a sense of hospitality. Custom furniture and lighting pieces adopt the efficient tectonic of wood plank and tubular steel construction, but their material richness and refined detailing also harken to the quality of craftsmanship found in antique cars. With this project, Neri&Hu attempts to break through common expectations of what some might consider a vulgar typology, to inject a sense of warmth into an industrial context, and to portray the seductive side of the ubiquitous modern machine.  After. Image © Pedro Pegenaute  © Pedro Pegenaute To facilitate the efficiency of service in the repair shop, the strategy for the main signage reflects the bold and straightforward graphics of road signs. While the main signage is clear and direct, a second layer of signage augments the functional with the reflective. Meant to be slowly discovered, quotes are silkscreen-printed throughout the lounge and waiting area for customers to ruminate and take pause.  This posting includes an audio/video/photo media file: Download Now |
| Bêka and Lemoine's Documentary Film on BIG's "8 House" To Be Screened Exclusively on ArchDaily Posted: 28 Nov 2016 10:00 AM PST Filmmakers Ila Bêka and Louise Lemoine, creators of the Living Architectures seminal collection of films on architecture, will screen The Infinite Happiness—shot entirely in Copenhagen's "8 House" designed by BIG—exclusively on ArchDaily from Friday, December 2 until Sunday, December 4. Marking the forthcoming release of two DVD box-sets of their entire œuvre (which was acquired by New York's Museum of Modern Art (MoMA) in 2016) Bêka and Lemoine have, over the course of the Living Architectures project, developed films about and in collaboration with the likes of the Barbican in London, the Fondazione Prada, La Biennale di Venezia, Frank Gehry, Bjarke Ingels, the City of Bordeaux, the Arc en Rêve centre d'architecture, and more. Their goal in this has always been to "democratize the highbrow language of architectural criticism. [...] Free speech on the topic of architecture," Bêka has said, "is not the exclusive property of experts." Their first film, Koolhaas Houselife (2008), has come to embody this unique approach. The pair have, in the words of Veronique Vienne, talked to "concierges, cleaning ladies, repairmen, security-system installers, and house painters" alike – "but also residents, neighbors, dog walkers, and occasional tourists." The result is a series of documentary films studying seminal buildings as seen through the eyes of everyday inhabitants, occupiers, and passers-by. "No talking heads, no voice-over, no off-camera commentaries – just the raw stuff of lives, whose relationship to the built environment is as much part of the architecture as the walls, the windows, or the roofs."  © Bêka & Partners The Infinite HappinessConceived as a personal video diary, The Infinite Happiness is an architectural experience. The film takes us to the heart of one of the contemporary housing development considered to be a new model of success. Inhabiting the giant "8 House", built by Danish architect Bjarke Ingels in the suburbs of Copenhagen, Ila Bêka & Louise Lemoine recount their subjective experience of living inside this experiment of vertical village, named in 2011 as the world's best residential building. Just like a Lego tower, the film constructs a collection of life stories all interconnected through their personal relationships with the building. The film draws the lines of a human map which allows the viewer to discover the building through an internal and intimate point of view, while questioning the architecture's ability to create collective happiness. What are the surprising results of this new type of social model designed for the 21st Century?  © Bêka & Partners  © Bêka & Partners  © Bêka & Partners  © Bêka & Partners Screener InformationThe Infinite Happiness will available to watch on ArchDaily from Friday, December 2 (1800GMT/1300EST/0200CST) until Sunday, December 4 (0800GMT/0300EST/1600CST). Return to this article during this timeframe to be linked to the screener. The full collection of Bêka and Lemoine's films can be purchased and viewed on demand, here.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 28 Nov 2016 09:00 AM PST  © Aaron Pocock
 © Aaron Pocock This project by Warc Studio architects is for low budget alterations and additions to a detached 1960's house in the Melbourne suburb of Oakleigh, Australia. The site has a gentle slope to the rear and an Eastern aspect. The project brief required the provision of new rear living spaces as well as some internal modifications & rectification work to the existing residence.  © Aaron Pocock  Floor Plan  © Aaron Pocock The design program was driven by resource efficiency which was essential to delivering both economic and sustainable objectives.  © Aaron Pocock The form of the additions draws reference from the seemingly ubiquitous lean-to mono pitch roof form structures prevalent at the rear of 1950 - 1960's houses throughout the area. In this instance, two mono pitch roof forms with differing gradients were juxtaposed to form new living areas that span across the rear of the house and open to the garden. The resulting roof form provides a compact building envelope: the surface area of the additions are around 12% less than if a flat roof / flat ceiling solution had been employed with the same built volume. This in turn translates to increased efficiency of the thermal envelope and reduced capital material consumption. Passive solar radiation is managed by strategically placed openings as well as an automated operable roof window at the ceiling apex which enables any hot air to quickly dissipate. A structural system of laminated timber fins simultaneously provides structure, finished surface and sun shading to substantial glazing areas facing the garden as the sun transitions Northward. The laminated timber fins are constructed from arsenic free H3 treated laminated radiate pine – a highly sustainable resource sourced from plantations within 4 hours drive of the site. Other than staining, no additional lining, substrate or embellishment of the fins was required. Minimal steel was required. The roof was lined with white steel sheet lining that minimizes heat gain in summer.  © Aaron Pocock Within the existing house, the congested planning was modified to create a defined central passage that services a series of refurbished spaces including a laundry, study, bath room and ensuite bath room. Spatial interconnectivity is facilitated through a plywood "chute" that connects and delineates the original house from the new additions as well as a sliding panel that connects the new living areas to the study.  © Aaron Pocock The finished project successfully met tight budget restrictions while exceeding statutory sustainability requirements.  This posting includes an audio/video/photo media file: Download Now |
| 12 Projects Recognized as 2016 NYC Public Design Commission Award Winners Posted: 28 Nov 2016 08:00 AM PST  Mayor Bill de Blasio and the New York City Public Design Commission have announced the winners of their 2016 Awards for Excellence in Design. Established in 1983, the award has been bestowed annually to projects from the city's five boroughs that "exemplify how innovative and thoughtful design can provide New Yorkers with the best possible public spaces and services and engender a sense of civic pride." Both built and unbuilt projects are considered for the award. Previous winners have included Studio Gang's Fire Rescue 2 (2015), the Louis Kahn-designed Four Freedoms Park (2014), and Steven Holl's Hunters Point Library (2011). "These thoughtful and innovative designs support the de Blasio Administration's commitment to providing quality, equitable, and resilient public spaces to all New Yorkers. By utilizing good design principles, these projects will provide the public with increased access to the waterfront, open spaces and parks; improved places for play and community gatherings; and inspiring artworks," said Public Design Commission President and co-founding principal of Mathews Nielsen Landscape Architects Signe Nielsen. Added Public Design Commission Executive Director Justin Moore: "Part of what makes our city great is the quality of our public realm and the creativity and ingenuity found in our design community and city agencies. These award-winning projects range from new technologies to improved neighborhood parks and public artwork. They show that design excellence is an important part of New York's leadership in promoting innovation, sustainability, and equity in cities." Excellence in Design Winners 40th Police Precinct / BIG + Starr Whitehouse. Image Courtesy of BIG 40th Police Precinct / BIG + Starr Whitehouse Located in the South Bronx, this new station house reinforces a commitment to serving the surrounding communities of Port Morris, Melrose, and Mott Haven while meeting the complex programmatic requirements of the New York City Police Department. The building's unique form comprises stacked volumes that spiral around a central atrium, visually connecting interior spaces and bringing in daylight from a rooftop clerestory. The facade alternates between solid perimeter walls and glazed reentrant corners, providing security while also affording light and views.  Waterfront Nature Walk / George Trakas + Quennell Rothschild & Partners. Image Courtesy of George Trakas and Quennell Rothschild & Partners Waterfront Nature Walk / George Trakas + Quennell Rothschild & Partners George Trakas' Waterfront Nature Walk is located along Newtown Creek and Whale Creek, adjacent to the Newtown Creek Water Pollution Control Plant in Greenpoint. Envisioned as a critical component of the awarded master plan for the Department of Environmental Protection's plant, the Waterfront Nature Walk revives a long-inaccessible industrial shoreline for public use as a waterfront promenade and kayak launch.  Van Name Van Pelt Plaza/Richmond Terrace Wetlands / Department of Parks & Recreation In-House Design. Image Courtesy of NYC Parks Van Name Van Pelt Plaza/Richmond Terrace Wetlands / Department of Parks & Recreation In-House Design Nestled between the edge of a residential neighborhood and the working industrial waterfront of Staten Island's north shore, this deteriorated site will be transformed into an attractive community asset with a pier that provides expansive views to the Kill van Kull and the Bayonne Bridge.  Luminescence / Nobuho Nagasawa + Thomas Balsley Associates + Weiss/Manfredi Architects. Image Courtesy of Nobuho Nagasawa, Thomas Balsley, Weiss/Manfredi Luminescence / Nobuho Nagasawa + Thomas Balsley Associates + Weiss/Manfredi Architects Set within the curved landscape of the Hunters Point South Peninsula lawn along the East River, these seven sculptures are both beautiful and educational. A phosphorescent material integrated into the surface of each domed shape absorbs sunlight during the day and illuminates the phases of the moon at night with a soft blue glow. Placed at an overlook, the sculptures offer visitors the opportunity to contemplate the many influences of the moon - from its mystical and poetic powers to its physical gravitational pull on the river's tidal rhythm.  Dock 72 / S9 Architecture + MPFP. Image Courtesy of S9 Architecture and MPFP Dock 72 / S9 Architecture + MPFP Dock 72 embraces rapidly emerging technological and creative industries in Brooklyn with a work environment that encourages and enables hundreds of new and maturing creative startups to flourish. The building's design celebrates the maritime and industrial history of the Brooklyn Navy Yard while providing 21st-century shared work spaces that allow tenants to contribute to the Yard's renewed life as a growing industrial hub.  The High Line Park Passage and Spur / James Corner Field Operations, Diller Scofidio + Renfro, Piet Oudolf. Image Courtesy of James Corner Field Operations, Diller Scofidio + Renfro, and Piet Oudolf The High Line Park Passage and Spur / James Corner Field Operations, Diller Scofidio + Renfro, Piet Oudolf The last segments of the High Line to open to the public, the Passage and Spur will become the northern gateway to this internationally loved elevated promenade. The Passage weaves through Hudson Yards' south tower, which cantilevers 60 feet above the High Line. To celebrate this cathedral-like space, the design remains open and minimal, with seating along the north edge and planting, social spaces, and balconies at the southern edge.  Snug Harbor Cultural Center Music Hall Addition / Studio Joseph + SCAPE/Landscape Architecture. Image Courtesy of Studio Joseph and SCAPE Snug Harbor Cultural Center Music Hall Addition / Studio Joseph + SCAPE/Landscape Architecture This understated yet elegant addition will provide critical support spaces for the Snug Harbor Music Hall, which was completed in 1892 and is the second oldest theater in New York City. The new structure is nested carefully between two of the original pilasters on the east facade of the historic building. Modest in scale, with one floor below grade, the design achieves a sense of presence through formal expression - deep overhangs at the entrances recall the portico of the Music Hall - and materials such as white board-formed textured concrete, glass, and steel.  SoHo Square / Mathews Nielsen Landscape Architects. Image Courtesy of Mathews Nielsen SoHo Square / Mathews Nielsen Landscape Architects The renovation of this under-utilized open space will establish a distinct gateway to the thriving hub of Hudson Square. The design derives its patterns and materiality from the area's history as a printing district, while providing a variety of pathways, gathering areas, and seating to allow for diverse contemporary use of the site.  Anti-idling Ambulance Pedestals / Ignacio Ciocchini + MOVE Systems. Image Courtesy of Ignacio Ciocchini and MOVE Systems Anti-idling Ambulance Pedestals / Ignacio Ciocchini + MOVE Systems Aligning with the sustainable goals of OneNYC, these anti-idling pedestals will reduce ambulance vehicle emissions without disrupting the Fire Department's critical emergency operations. By plugging in to these curbside pedestals, EMTs can safely shut off their engines while keeping their communication systems live and temperature-sensitive medicines refrigerated.  LinkNYC / CityBridge. Image Courtesy of CityBridge LinkNYC / CityBridge LinkNYC is a new telecommunications network replacing old payphones with Links that benefit the public - especially those of limited means - by offering free services such as high-speed Wi-Fi, mobile device charging, and a custom-built tablet that enables free telephone calls within the United States and provides access to City information and services in addition to wayfinding. Special Recognition Award Parks Without Borders / Department of Parks & Recreation. Image Courtesy of NYC Parks Parks Without Borders / Department of Parks & Recreation Rooted in the idea that the design of the public realm - streets, sidewalks, and open spaces - should be cohesive and integrated, Parks Without Borders aims to improve the interface between New York City parks and their surrounding neighborhoods. As part of OneNYC, this initiative aims to make parks more welcoming, accessible, and active. Each design concept will begin at the park edge, with lowered fences and gates, wider and more porous entrances, and improved sightlines into the park.  Community Parks Initiative / Departments of Parks & Recreation. Image Courtesy of NYC Parks Community Parks Initiative / Departments of Parks & Recreation Through the Community Parks Initiative (CPI), The Department of Parks & Recreation is strengthening New York City's network of parks and public space in historically under-served, high-poverty, densely populated and growing neighborhoods. Part of OneNYC, this multi-faceted capital program reimagines the smaller public parks that people use every day. To learn more about the award and see previous years' winners, visit the Public Design Commission's website, here. News and project descriptions via NYC Public Design Commission.  This posting includes an audio/video/photo media file: Download Now |
| Ermita del Santo Sepulcro Rehabilitation / Héctor Fernández Elorza + Manuel Fernández Ramírez Posted: 28 Nov 2016 07:00 AM PST  © Montse Zamorano
 © Montse Zamorano From the architect. Jarandilla de la Vera has grown around a large granite promontory, leaving its steep western side untouched protecting the access and placing the Main Square in the slightly sloped eastern side. From this square an irregular ramp starts off in the shape of a steep ascending path parallel to the northern facade of the church, arriving at a small square defined by the entrances to both the church and the Chapel of the Holy Sepulchre.  © Montse Zamorano  Site Plan  © Montse Zamorano The rehabilitation project of the chapel has developed two strong actions. Firstly, to consolidate and assure the constructive stability of a seriously harmed building in a state of ruin and neglect. Built in the 17th century as a small chapel attached to the church, its use varied. In the 19th century it was used as a small prison and during the start of the 20th century, after its roofing came down, as a school.  © Montse Zamorano  © Héctor Fernández Elorza Secondly, to adequate in a flexible manner the new use proposed for this construction, given that many varied activities will be developed.  © Montse Zamorano  Section  © Montse Zamorano With barely 100 m2 and only one access from the small square, the chapel is divided into two volumes which configure a unitary space -given their shape, size and linkage. The first and largest volume has an irregular four-sided plan and a gabled roofing with its ridge placed perpendicular to the facade. Although the second volume is smaller, it is taller. Placed in the back of the previous one, this piece used to be the apse. Thus its high ceiling topped with a semicircular dome covered by a hipped roof with a lantern that shines light inside through the center of the dome. The link between both volumes is solved by a five meters wide circular granite arch.  © Montse Zamorano The developed work proposes an intervention of subtle, minimal actions on the original remains of the building. On one hand, the new structural system has been designed to supply the existing shortcomings and to get rid of the observed pathologies in the actual state of the building. This is achieved by incorporating an interior 'shell' -floor, lateral walls, and covering- made of armored concrete 25 centimeters thick. This element solves the totality of the main volume and assures the reinforcement and stability of the original perimeter walls. The remains of the shake roofing were used to create the texture of the formwork to construct the concrete shell, translating the wood texture of the old chapel to the new construction.  © Montse Zamorano On the other hand, the semicircular dome´s lantern is recomposed by the insertion of a stainless steel element that reflects the light into the interior of the second volume, the former apse. This element plus the two lateral apse windows and the semicircular gap above the main entrance are the only ways to shine light into the chapel. The width of this arched main entrance enables a double door that allows a variable relationship between the exterior and the interior of the chapel along with variable illumination too.  Axonometric The interior acoustic absorption has been taken into account too, in order to avoid uncomfortable sound reverberations. This is solved by covering the interior of the façade wall with solid beveled wooden pieces in line with the concrete shell that absorb and break secondary acoustic waves enhancing the interior comfort. Lastly, the exterior appearance of the walls is very simple, made in basic stonework and lime mortar plastering. The granite flooring finish from the interior of the chapel is extended outwards to the small square, leaving uncovered the grain of the stone of the promontory, and including big chunks to configure the ledge highlighting, therefore, the former compactness and weight of this site.  © Montse Zamorano  This posting includes an audio/video/photo media file: Download Now |
| 17 Excerpts from OMA Publications To Read and Download Posted: 28 Nov 2016 05:50 AM PST Earlier this year, the Rem Koolhaas-led firm OMA launched a redesign of its website. If you haven't already popped over to see more than three decades worth of cutting-edge, provocative architecture projects, you'll have a good reason to now: downloadable excerpts from six of the office's highly acclaimed books and magazines. 1. Elements (2014)Publisher: Marsilio  Elements (2014). Image via www.oma.eu Available Excerpts:
 via www.oma.eu 2. Project Japan (2011)Publisher: Taschen  Project Japan (2011). Image via www.oma.eu Available Excerpts:
 via www.oma.eu 3. Al Manakh (2007)Publisher: Archis  Al Manakh (2007). Image via www.oma.eu Available Excerpts:
 via www.oma.eu 4. Post Occupancy (2006)Publisher: Domus d'Autore  Post Occupancy (2006). Image via www.oma.eu Available Excerpts:
 via www.oma.eu 5. Content (2004)Publisher: Taschen  Content (2004). Image via www.oma.eu Available Excerpts:
 via www.oma.eu 6. Project on the City II: The Harvard Guide to Shopping (2001)Publisher: Taschen  Project on the City II: The Harvard Guide to Shopping (2001). Image via www.oma.eu Available Excerpts:
We included OMA's website in our feature on the "Best Designed, Most Useful, Architecture Firm Websites". Check out the others, here.
 Elements
 Project Japan: Metabolism Talks...
 Volume 12: Al Manakh
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 The Harvard Design School Guide to Shopping / Harvard Design School Project on the City 2  This posting includes an audio/video/photo media file: Download Now |
| Platanenkubus Nagold / Ludwig.Schoenle Posted: 28 Nov 2016 05:00 AM PST  Courtesy of Ludwig.Schoenle
 Courtesy of Ludwig.Schoenle The Plane-Tree-Cube was designed as a contribution for the Regional Horticultural Show in Nagold in 2012. It was conceptualized as a long-term Baubotanik experiment within an urban context. By the help of "Plan Addition" techniques, a green cube with an edge length of 10 meters was created that, right from the beginning, had the dimension of a full-grown tree. Initially, young plane trees are arranged in plant containers on six levels. They form green walls around a space open to the sky.  Courtesy of Ludwig.Schoenle  Section Research  Courtesy of Ludwig.Schoenle In the course of time, the upper part of this space will be covered by the gradually emerging canopy, while the lower part will become more transparent and dominated by the increasingly knobby and thick trunks. During the horticultural show, the cube served as a view tower and shady retreat for visitors. After the show, the area will be developed into a new neighbourhood. The plane-tree-cube will then function as a multifunctional vertical pocket park.  Elevation Phase 01  Elevation Phase 02  Elevation Phase 03 "Plant Addition" is a technique where young plants are arranged above and adjacent to each other and connected so that they merge into a network-like plant structure. Only the lowest plants are put in the ground, all others are planted in special containers fitted with an automated system that continuously supplies them with water and nutrients. As this network of plants develops, the roots embedded in the ground grow more vigorously than those placed in containers because the ground provides more root space, which plants can exploit for additional resources. Once the inosculations have developed, the artificially created plant structure can transport water and nutrients from the roots in the ground to the upmost leaves, and the roots of the container plants become obsolete. Step by step, these high-level roots can be cut off, the automated watering system can be removed, and, finally, the living structure becomes self-sufficient. Simultaneously, the secondary growth in circumference increases the strength of the plant structure and eventually it becomes self-supporting so that the scaffolding, initially required to support the containers and the young plants, can be removed. During two test series, this concept was validated with different tree species.  Courtesy of Ludwig.Schoenle Product Description. The drip irrigation system by Netafim is an essential element to continuously and precisely water the plants in the pots. The Airpot Growth System is an innovative pot system working with so called "air pruning" of the roots to avoid circular root growth in the pots and to foster healthy plant growth. The large format concrete plates by steico cover the whole ground floor area of the project, giving it an generous appearance.  Top View  This posting includes an audio/video/photo media file: Download Now |
| Kengo Kuma Unveils Designs for Residential Superstructures in Moscow Posted: 28 Nov 2016 04:00 AM PST  © MKA Kengo Kuma & Associates have been tapped to design a new high-rise residential complex on Kutuzovsky Prospekt in Moscow, adjacent to the new business district of Moscow City. The project will be the first urban plan in Moscow to take the form of superstructures rather than individual buildings, and will be Kuma's first project in the Russian Capital.  © MKA The 360,000 square meter complex will follow an open-courtyard concept where the elongated building structures will frame a wide promenade directing pedestrians through to the nearby Moscow River. Public and community social spaces will also be integrated throughout the project, along with an underground parking deck and small indoor garden.  © MKA On the outside, the building facades will be constructed from matte anodized aluminum to reflect sunlight and create "an effect of lightness and transparency." In an interview conducted by the Architectural Council of Moscow and included as part of a press release for the project, Kuma explained his inspiration for the site and his take on the current state of the architecture world:  © MKA Archcouncil: Why have you decided to work here? What are you interested in? Kengo Kuma: The location of this project is very important for Moscow, because it's near the Moscow River, which is the new center of activity in Moscow. The aim of the project is to combine the big boulevard and the riverside; and it can change dramatically the urban environment of the location.  © MKA A: The Moscow Government approved the unified urban development concept of the Moscow River's adjacent territory. What challenges are development projects facing, which, like yours, will be implemented on the riverside? And what benefits can they bring to the city? KK: In the XX century the riverside and city life were totally separated. On the riverside there were factories or warehouses — those houses block the river from the city. But in the XXI century people would like to enjoy the nature of the river. In Japan we also have the same program: the nature, a river or ocean, and a city have been separated by industrial buildings for a long time. In Europe people face the same problem — when buildings have broken the nature and the city. Our project in Moscow is kind of a "gate" which connects the city and the river. This is an ideal project to combine the courtyard, various activities and the river. We've been working together to create this kind of new prototype which will connect nature and the city. It can be the new prototype not only for Moscow; it can be the new prototype for every city in this century.  © MKA A: What do you think about the trends that were demonstrated at the present Architectural Biennale in Venice: simplification of shapes, cost reduction, single use policy? What's your forecast for the future? KK: Now the relationship between society and architecture is changing, as society is very often critical to the cost of the building, and also the environment has become very important. In that new situation the architects should find a new way of creating their character; as still a strong character is very necessary for architectural design. But at the same time the cost, environment and global warming effect have become very-very important. And we should find the meeting point of these requirements.  © MKA A: Do you think that the competence of modern architect is changing? KK: In the beginning of the XX century, the Russian architects tried to combine the technology of the XX century and the new design. Nowadays what we should do is to combine the environmental technology and architectural design; because we have many new technologies for ecology and for sustainability. But the architectural design and those technologies are totally separated. We should integrate those things together. In this project we are designing the riverside; we even use simulation of wind flows to create the most comfortable environment. This work can be a good example of integrating the two kinds of technology. News via Archcouncil of Moscow.  This posting includes an audio/video/photo media file: Download Now |
| K21 Skardsøya / TYIN Tegnestue Architects Posted: 28 Nov 2016 03:00 AM PST  © Pasi Aalto
 © Pasi Aalto From the architect. The cottage holds a special place in contemporary Norwegian culture. A few generations back the majority of the Norwegian people made a living from farming, fishing or lumbering, trades which afforded closeness with nature. In the contemporary and urbanized way of life the cottage is a means maintaining this closeness. This particular cottage is modestly sized with its 60 square meters, and thus a sustainable structure both in terms of material usage and energy consumption.  © Pasi Aalto The building sits amidst marshland, sea-adjacent rock and scattered pine- and juniper-vegetation. An important consideration in the project was to avoid interfering with this sensitive surrounding terrain. It heals slowly due to climatic factors. The cottage lies 21 meters above sea level, and the distance to the sea front is 100 meters. Some marsh had to be cleared in preparing for the building phase, exposing bedrock and thus aiding in integrating the cottage with the terrain.  Floor Plan  Section The structure rests on a concrete base, and the main building is a studwork house with beamed ceilings. The main building sits on three different levels. This lowers its height and emphasizes a connection between the interior of the cottage and the outside areas. The access point is on the western side of the lot, slightly lower than the cottage itself. Visual impact depends markedly on perspective. From the west the cottage appears rather tall, while from the east it looks lower and more adapted. Entry to the main building is situated next to the outhouse, and a shared gallery roof keeps it sheltered from rain and wind.  © Pasi Aalto The clients did most of the construction work themselves. This level of client participation is rare, and we were delighted to see the level of personal commitment put into the details. The exterior of the building is clad in spruce harvested from the client's own forest. This untreated material fades rapidly, attaining a light and silvery shimmering hue. The outside detail is kept to a minimum to ensure an even patina for the walls.  © Pasi Aalto  This posting includes an audio/video/photo media file: Download Now |
| 39 Strange Habits Most Architects Can Relate To Posted: 28 Nov 2016 01:30 AM PST  Courtesy of Sharon Lam Previously we had a look at some of the strange habits of top architects. From drinking on the job to polyphasic sleeping, it turns out famous architects are a bunch of weirdos. But what about the rest of us? It's not just the famous architects who are weirdos—it's simply impossible to spend such long periods of time on the job without picking up a few strange habits along the way. Whether it's the way we work, the way we interact with buildings, or things that don't even seem odd until a non-architect points them out, those in architecture have some pretty strange habits. 1. Spending five hours looking for the right font 2. Smugly carrying a Moleskine around everywhere 3. An uncanny ability to spend hours in your office/studio and get absolutely nothing done at all 4. Planning travel itineraries around buildings 5. Always feeling like you deserve a coffee break 6. Thinking Bjarke Ingels is a bit cute  © Sharon Lam, using an image by <a href='https://commons.wikimedia.org/wiki/File:Bjarke_Ingels_in_Frankfurt.20150617.jpg'>Wikipedia user Epizentrum</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/'>CC BY-SA 3.0</a> 7. Having imaginary conversations with Bjarke Ingels in the shower 8. Feeling up walls, columns, floors 9. Misplacing your metal ruler every five minutes 10. Misplacing your scale ruler every two minutes 11. Getting way too excited over a nice handrail 12. Dropping $30 (or more) on a pen  © Sharon Lam, using an image by <a href='https://www.flickr.com/photos/nothingpersonal/5077683735'>Flickr user Dmitry Dzhus</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> 13. Getting aroused by heavy paper stock 14. Thinking you have better taste than your non-architect friends 15. Alienating your non-architect friends by saying things like "tectonic" and "how have you never heard of Bjarke Ingels?" 16. Feeling incredibly grateful for hi-res transparent .pngs 17. Having way too many layers open in Photoshop  © Sharon Lam 18. Finding your wardrobe become more and more monochromatic 19. Really really appreciating a well-designed public toilet 20. Pointing out the thermal bridges in every steel building you see 21. Judging books by their cover 22. Having terrible time management despite years of thinking "this year will be different" 23. Including a famous building in your profile picture  © Sharon Lam, using an image by <a href='https://commons.wikimedia.org/wiki/File:Fallingwater_-_by_Frank_Lloyd_Wright.jpg'>Wikipedia user Somach</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/'>CC BY-SA 3.0</a> 24. Feeling disappointed that your profile picture doesn't have as many likes as it should, because of non-architect friends who don't get it  © Sharon Lam, using an image by <a href='https://commons.wikimedia.org/wiki/File:Fallingwater_-_by_Frank_Lloyd_Wright.jpg'>Wikipedia user Somach</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/'>CC BY-SA 3.0</a> 25. Abandoning your LinkedIn profile because you don't like the way the website looks 26. Referring to architects by just their first name like "Zaha" 27. Referring to architects by made up nicknames like "Corby" 28. Referring to clients by made up nicknames... but only when they're not around 29. Not being able to afford any of the furniture/gadgets/clothes you want 30. Waiting until payday to splash out on furniture/gadgets/clothes anyway 31. Religiously using Muji stationery 32. Getting starstruck around buildings  © Sharon Lam, using an image by <a href='https://www.flickr.com/photos/naq/2337744981'>Flickr user Nauib Hossain</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> 33. Watching reality tv shows with judging panels and thinking they're nothing compared to client meetings you've been through 34. Feeling way too important when wearing hi vis and hard hat on site 35. Finding masking tape in your hair 36. Fully understanding the business card scene in American Psycho 37. Spending all day rearranging furniture in a plan drawing 38. Overestimating how much you can do in a day 39. Underestimating the time you spend scrolling through the internet looking for "inspiration"  This posting includes an audio/video/photo media file: Download Now |
| Museum of Contemporary Art & Planning Exhibition / Coop Himmelb(l)au Posted: 28 Nov 2016 12:30 AM PST  © Duccio Malagamba
 © Duccio Malagamba From the architect. The Museum of Contemporary Art & Planning Exhibition (MOCAPE) is part of the master plan for the Futian Cultural District, the new urban center of Shenzhen. The project combines two independent yet structurally unified institutions: The Museum of Contemporary Art (MOCA) and the Planning Exhibition (PE) as a cultural meeting point and a venue for architectural exhibitions. The lobby, multifunctional exhibition halls, auditorium, conference rooms and service areas will be used jointly.  © Duccio Malagamba Both museums are designed as separate entities emphasizing their individual functional and artistic requirements and yet are merged in a monolithic body surrounded by a multifunctional facade. This transparent facade and a sophisticated internal lighting concept allow a deep view into the joint entrance and transitional areas between the buildings. From the inside, visitors are granted an unhindered view onto the city suggesting they are somewhere in a gently shaded outdoor area, an impression enhanced by 6 to 17 meter high, completely open and column-free exhibition areas.  © Duccio Malagamba Behind the entrance area between the museums, visitors ascend to the main level by ramps and escalators and enter the "Plaza", which serves as a point of departure for tours of the museums. From the Plaza the rooms for cultural events, a multi-functional hall, several auditoriums and a library can be accessed.  Sketch A silvery shining and softly deformed "Cloud" serves as a central orientation and access element on the Plaza. On several floors the Cloud hosts a number of public functions such as a café, a book store and a museum store and it joins the exhibitions rooms of both museums with bridges and ramps. With its curved surface the Cloud opens into the space reflecting the idea of two museums under one roof.  © Duccio Malagamba The Urban Concept The MOCAPE monolith completes the eastern part of the master plan for the city center and fills the last gap in the Futian Cultural District between the „Youth Activity Hall" (YAH) to the north and the opera-library complex to the south.Similar to other buildings in this district, the main level of the MOCAPE lies 10 meters above the ground level and so creates a stage-like platform, which acts as a unifying element with the adjacent buildings.  Diagram  Diagram, Skin, Light and Energy Concept The exterior skin consists of an outer layer of natural stone louvers and the actual climate envelope made from insulated glass. These elements form a dynamic surface, which is structurally independent from the mounting framework of the museum buildings. This functional exterior envelops the two museums, a vertical access and entertainment element (Cloud), the public Plaza, and the multifunctional base.  © Duccio Malagamba The technical building equipment is designed to reduce the overall need of external energy sources: Pollution free systems and facilities use renewable energy sources through solar and geothermal energy (with a ground water cooling system) and only systems with high energy efficiency have been implemented. The roof of the museum filters daylight for the exhibition rooms, which reduces the need for artificial lighting.  © Duccio Malagamba  Section  © Duccio Malagamba  Section  © Duccio Malagamba With this combination of state of the art technological components, a compact building volume, thermal insulation and efficient sun shading the MOCAPE is not only an architectural landmark but also an ecological and environmentally friendly benchmark project.  © Duccio Malagamba  This posting includes an audio/video/photo media file: Download Now |
| New York City Mapped All of its Trees and Calculated the Economic Benefits of Every Single One Posted: 28 Nov 2016 12:00 AM PST  via NYC Parks Public spaces, squares, and parks in New York City are administered by the city’s Department of Parks & Recreation (NYC Parks). In recent years, the agency has been responsible for creating new programs to help children, youth and adults be aware of the importance of caring for their urban landscape. One of these programs is a TreesCount! which in 2015 gathered 2,300 volunteers to learn about the trees in their environment, what state they are in, what care they need, what their measurements are, and how they benefit the surrounding community, etc. For months, they walked the streets of the five boroughs together with a group of monitors who previously trained them to recognize what trees they were studying and their characteristics. Now the information gathered on these walks, which gave rise to an urban forest registry, is available on the New York City Tree Map. With it, you can view statistics on each of the 685,781 registered trees, a calendar of activities related to tree care, the total number of species and find out which is the most common tree in your neighborhood.  via NYC Parks In terms of data for each tree, no detail was left out, since each one was assigned a unique ID number, as well a color indicating its species. In addition, it has its exact location accompanied by its corresponding image in Google Street View, the possibility of reporting any possible issues that may arise and a summary of the ecological benefits for each tree translated into an economic value. This means that when choosing a tree on the map you can see the amount of rainwater it retains each year (expressed in gallons) and the money each individual specimen saves each year. The amount of electricity conserved is also estimated, calculated in kilowatts per hour (kWh), as well as the reduction of air pollution. All these are formulated according to figures from U.S. Forest Service that estimate the total ecological benefits a tree gives in dollars. In the case of the tree in the image below, this one has a benefit for its population that amounts to slightly more than $500 USD each year.  via NYC Parks If you want to check the map out for yourself click here.  This posting includes an audio/video/photo media file: Download Now |
| Mola Structural Kit II: Another Way to Learn About Structures Posted: 27 Nov 2016 10:00 PM PST Mola, creator of the Mola Structural Kit, is back at it with a second interactive structural kit aimed at changing the way people study and teach structures around the world. Mola sold over 4000 of their first kit across more than 50 countries in 2014, and now you can back the newest expansion on Brazilian crowdfunding website Catarse.  Courtesy of Unknown Mola 2 includes 144 pieces and a bilingual manual to expand on and broaden the possibilities of Mola 1, encouraging users to be even more creative and innovative. To that end, the makers have developed new adjustable length bars, lightweight connectors, and continuous connection parts that are fully compatible with the components from Mola 1.  Courtesy of Mola Mola 1 enjoyed enthusiastic reception, becoming the most successful crowdfunding campaign in Brazil at the time of its release. The idea for the Mola Structural Kit originated with Brazilian architect Márcio Sequeira de Oliveira, who validated the accuracy of the model's behavior in his master's thesis at the Federal University of Ouro Preto in Minas Gerais, Brazil.  Courtesy of Mola Check out the team's Catarse page to learn more about their endeavor and for information on how to purchase a kit. Or, check out the information below to see how you could win a Mola Structural Kit. Giveaway ArchDaily has teamed up with Mola for an exclusive giveaway. We're offering our readers the chance to win one of 5 Mola Structural Kit 2 sets, or one of 5 of the original Mola Structural Kit 1 sets. For your chance to win, simply enter your details in the form below by 9am EST on Monday December 5th. Terms & Conditions:
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| Posted: 27 Nov 2016 09:00 PM PST  © José Hevia
 © José Hevia From the architect. The project consists of remaking a home in a 1970's apartment in Barcelona. The former spaces were based on program requirements resulting in a series of small rooms and corridors with predefined functions. Those spaces were shaped by non-load bearing walls given its 'properly modern' free plan. However, columns, beams and slabs were concealed within the internal partitions as shameful bones.  © José Hevia The aim of the project was to make the apartment again (remake it), with significant setting and character changes. This would be achieved two-fold: by unveiling the hidden qualities of the 70's architecture and by defining a new series of suggestive settings.  Axonometric The project endows the former idea of free plan, but exposes it 'as found' leaving its ('modern') steel columns and beams freestanding with their rough welds, as well as uncovering the (traditional) gentle ceiling vaults; enhancing very specific qualities of the construction means of those 1970's in Barcelona. This way an 'infrastructural space' is defined, as a permanent envelope in which smaller and temporary interventions will arrange 'inhabitable settings'. A series of timber pieces are displayed within that envelope stressing the divorce between space and structure.  © José Hevia Their shape, size and material qualities suggest places to be lived-in, from the sheltered interior of a panelled room to the gathering central space of the house.  © José Hevia The story This had been their place for the last 30 years. They used to live here with their children, though it's been few years since the youngest one left. They were living alone with many empty small rooms still laid out as sons' bedrooms. It was the typical flat from Sant Gervasi: 3 bedrooms, 2 bathrooms, flat ceilings, decent reception room with timber flooring, long corridors and separate maid-area with kitchen, bedroom, lavatory and service entrance. He enjoys cooking, but that dark kitchen was never thought for him to cook. The apartment was double-orientated: to the street (south) with large façade and generous windows and to the rear garden (north), however the internal maze of corridors and rooms prevented any sense of orientation and natural light to go through. They needed to remake their place.  Floor Plan They recently got retired and spend more time at home. The space now crosses diagonally the house bringing the sunlight from one end to the other. He can see the street from the kitchen. She enjoys the unexpected walkways along the façade and around the large timber cabinets. The house feels much broader. The sight finds no end. They have a small panelled guest room for their grandchildren. There is another space where they have a desk and a sofa bed. They now appreciate the beauty of the triangular shape of the space, they understand the sequence of smaller and larger settings that their life occupies; they have a sense of orientation, a sense of place.  © José Hevia  This posting includes an audio/video/photo media file: Download Now |
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