Arch Daily

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• Wiadomości Wrzesinskie Editorial Office / Ultra Architects
• The Hidden History of St. Petersburg's Leningrad-Era Avant-Garde Architecture
• YAC Announces Winning Projects for Two Road Monuments Celebrating Lamborghini’s Legend
• Corner House / DSDHA
• Barn Rijswijk / Workshop architecten
• Mehrabad House / Sarsayeh Architectural Office
• Heduli Paddy Hotel / C&C DESIGN
• Scenic Ballade / HAO Design
• Oak Grove / Justin Mallia
• SANAA's Zollverein School of Management and Design Photographed by Laurian Ghinitoiu
• Showroom Riccó Façade / SuperLimão Studio
• 15 Finalists Selected for the 2016 Art of Building Photographer of the Year Award
• The Dream Factory / Studio Roosegaarde
• Plans Revealed to Transform Pier 26 into New Park along the Hudson River in New York
• El Chalet / ISA
• 16 Materials Every Architect Needs to Know (And Where to Learn About Them)
• Utrecht Central Station / Benthem Crouwel Architects
• This Time Lapse Perfectly Captures the Days Leading Up to Your Final Review
• 99% Invisible Explores the Strange Phenomenon of Rotary Jails
• The Zig Zag Building / Lynch Architects

Wiadomości Wrzesinskie Editorial Office / Ultra Architects Posted: 19 Dec 2016 09:00 PM PST © Przemysław Turlej Architects: Ultra Architects Location: Września, Dworcowa 1, 62-302 Września, Poland Architects In Charge: Marcin Kościuch, Tomasz Osięgłowski Area: 406.0 m2 Project Year: 2016 Photographs: Przemysław Turlej, Jeremi Buczkowski, Dawid Majewski, Skyflash Collaborators: Łukasz Piszczałka, Przemysław Fedorczuk, Kamila Dębińska Construction: PMB Piotr Kosz Interiors Architecture: Ultra Architects Landscape Architecture: Ultra Architects Client: Kropka Publishing House Jolanta & Waldemar Śliwczyńscy © Jeremi Buczkowski From the architect. The form of a three-storeyed building for Wiadomości Wrzesińskie (Wrzesińskie News) editorial office was determined by its functional program as well as  a low budget. Terrace-shaped silhouette is an answer to different needs of publishing house's various activities. At the same time reduction of surface and optimization of functional program let to reduce costs of investment.  © Dawid Majewski On the ground floor there are customer service, conference room with facilities, cafeteria and a small car park with parking place for bicycles as well. Because of the most complex functional program of this storey its area is bigger than next floors. Due to its public function, the ground floor is also the most open part of the office building – its facade is glazed and enclosed with a small roof that creates a welcoming entrance area. Ground Floor Plan First floor, with a slightly smaller area than the ground floor, accommodates editorial rooms. Designing this part of the building was the biggest challenge, because we had to combine two different assumptions: the first is openness and transparency of journalism, the second one is related to the specific nature of this job. Journalists spend most of their work time in front of computer monitors, and to provide them with a comfortable environment we had to limit the amount of sunlight entering the interior. © Przemysław Turlej © Jeremi Buczkowski  On the northern side of this floor are located editors' offices, small dining area and a conference room. All these rooms have access to outside terrace. Open space with journalists' desks is located on the southern part of the storey. To protect interiors against the sunshine we decided to cover front elevation with perforated screens made of aluminium composite panels with holes cut on the basis of our project. The pattern of a perforation was inspired by newspaper's columns. In this way an elevation can be a visual identity of a building. 1st Floor Plan 2nd Floor Plan The perforated façade, that during a day provides protection against light, after dark is almost invisible. Illuminated building is alive late into the night, so long as the work lasts. We chose this kind of cladding also because of extensions plans for the future. Mesh panels enable seamlessly junction of older and new part of a building while still maintaining its contemporary look. © Dawid Majewski The second floor of a building accommodates Internet television studio, small guest room and technical infrastructure. From the observation deck one can admire the city skyline. © Jeremi Buczkowski © Jeremi Buczkowski Thanks to terraced shape of building's block we received exterior spaces that is covered with greenery. They create recreational areas for workers while at the same time  they cause that the building is more environmentally friendly. Greenery is a natural air filter and it absorbs rainwater reducing the amount of water discharge to municipal sewers. © Skyflash Product Description. Southern facade of the building is covered with perforated screens to protect interiors against the sunshine. These screens are made of aluminium composite panels with holes cut on the basis of our project. The pattern of a perforation was inspired by newspaper's columns. In this way main facade acts as a visual identity of a building. The perforated facade, that during a day provides protection against light, after dark is almost invisible and one can see what is happening inside. Illuminated building is alive late into the night and looks like a big lantern.  © Przemysław Turlej This posting includes an audio/video/photo media file: Download Now

The Hidden History of St. Petersburg's Leningrad-Era Avant-Garde Architecture Posted: 19 Dec 2016 08:00 PM PST © Leonid Balanev While Yekaterinburg's avant-garde architecture is the city's hallmark, and Moscow's avant-garde is the subject of arguments, in Saint Petersburg the prominence of the style and its influence are somewhat harder to identify. Some researchers even suggest that the avant-garde is an "outcast" or a "non-existent style" here, and its presence in has remained largely unrecognized. Alexander Strugach sheds light on this phenomenon: In Saint Petersburg, the avant-garde style is simply overshadowed by an abundance of Baroque, Modernist and Classical architecture, and is not yet considered an accomplished cultural heritage category. Meanwhile, gradual deterioration makes proving the cultural value of avant-garde buildings even more difficult. In this article—written by Svetlana Kondratyeva and with photographs by Leonid Balanev—which originally appeared on Strelka Magazine, experts on the Russian avant-garde put forward ten of the most important examples in Saint Petersburg. In the 1920s and 1930s, Leningrad architects designed unique buildings and complexes to developed the city's own avant-garde schools and techniques. According to Margarita Shtiglits, one of the authors of Leningrad Avant-Garde Architecture, the Leningrad avant-garde was influenced by both Modernism and Neo-Classicism, and many buildings feature references to these styles. Close attention to the expressiveness of the selected form is another important detail. Strugach suggests that the formation of the Leningrad avant-garde had two major influences: the ideas of Suprematism developed by Kazemir Malevich and his disciples, alongside European architectural elements ushered in by Erich Mendelsohn. Nearly eighty buildings of that period have already been listed, but many more still demand protection. Traktornaya Street and Narvskaya Housing Estate. Image © Leonid Balanev Traktornaya Street and Narvskaya Housing Estate (1925-1935) Location: Narvskaya Metro Station District The Narvskaya metro station district is an avant-garde haven and a place where architectural experiments once took place. The first school in Soviet Leningrad was built here, as well as the first district council building, first housing estate and first large palace of culture. Architect Alexander Strugach points out that unlike many other locations, the Narvskaya metro district preserved its unique layout. Lev Ilyin, a talented urban planner, proposed using a two-center system. The district is centered around two squares: a historic square near Narva Triumphal Arch and a new square near the Kirovsky district council. Later Ilyin developed his idea of a polycentric approach even further. He would go on to embed it into the Leningrad master plan, proposing the creation of a new city center around Moskovsky Avenue in addition to the existing historic center around Nevsky Avenue. According to Strugach, a housing estate on Traktornaya Street (1925-1927, designed by Alexander Gegello, Alexander Nikolsky and Grigory Simonov) is the most valuable object within the entire district. In order to design the estate, Grigory Simonov travelled to Germany and Sweden to collect foreign experience. The resulting development ended up being quite European. Sixteen three to four-store houses facing each other across the street simply reject Saint Petersburg's traditional side-by-side development style. The buildings on the opposite sides of the road are not even identical: layouts of balconies, staircases and cornices on the paired buildings vary. Expressive semi-arches, Traktornaya street's hallmark, adorn the corner houses. Traktornaya Street and Narvskaya Housing Estate. Image © Leonid Balanev The Narvsky Estate was built from any available materials: in some of the buildings old bricks were reused. The houses on Traktornaya have tramway rails for ceiling beams," says Alexander. "The houses also lacked bathrooms, although the builders insisted on adding them. The USSR had not yet been producing any baths at that time. Margarita Shtiglits names several other important buildings within the district. The Maxim Gorky Palace of Culture (built 1925-1927) and the factory kitchen / general store (built 1929-1931) are located on Stachek Square. Another two buildings, the 10th Anniversary of the October Revolution School (built 1930-1935) and the Kirovsky District Council (built in 1930-1935) are located on Stachek Avenue. According to Shtiglits, the latter is the single most important city-forming building among the entirety of constructivist buildings. The District Council catches the eye with its emphasized outline, an intense confrontation of its horizontal and vertical lines, clashes of its rigid and soft round spaces. Its exaggerated 'endless' glass panels are an anthem for continuous windows." The length of the continuous glass line is nearly 120 meters, which is a rare find in Leningrad. The Council building is accentuated by a 50 meter-high tower etched with a comb-like pattern of balconies. Leningrad City Council First Residential House. Image © Leonid Balanev Leningrad City Council First Residential House (1931-1935) Location: 13 Karpovka River Embankment The Leningrad City Council First Residential House is an avant-garde era elite development. A relatively large building, it contains only 76 three-to-six room apartments, some of them two-story. Party officials living here enjoyed premium living conditions: the improvements ranged from internal stairs made of oak and built-in furniture to a rooftop solarium and a gazebo in the yard. Some design proposals even included plans for the construction of a footbridge over the Karpovka River in front of the building. "The city used to suffer from frequent flooding, and embankment houses were usually built on a raised foundation. The house had a kindergarten on the second floor and external stairs were added to the layout to provide evacuation routes," says Alexander Strugach. Evgeny Levinson, who designed the building together with Igor Fomin, called these stairs a "graphic example" of the plastic capabilities of reinforced concrete. Although the stairs were not the most convenient solution because of the Leningrad climate, nowadays they remain one of the building's signature features. Leningrad City Council First Residential House. Image © Leonid Balanev "The Leningrad Council First Residential House features the latter stages of avant-garde style, influenced by both expressionism and Art Deco," say Shtiglits and Kirikov. They continue: A dynamic play of spaces, contrasts between straight and curved lines, a confrontation of a light gallery downstairs and a heavy-set upper body, an alternating pattern of smooth surfaces and deep cavities, spikes of unsupported corners and 'levitating' external stairs mold an image of deliberate sharpness. The intricate layout of every side of the building, including the side facing the backyard, emphasizes the elite status of the house. Leningrad City Council Palace of Culture. Image © Leonid Balanev Leningrad City Council Palace of Culture (1931-1938) Location: 42 Kamennoostrovsky Avenue In the vicinity of the First Residential House stands the Leningrad City Council Palace of Culture, formerly known as Industrial Cooperation Palace of Culture, another building designed by Eugene Levinson. The building is designed akin to a construction set: the Palace was built upon a pre-revolution Sporting Palace. The previous neoclassical style building accommodated a restaurant, a mixed-purpose cinema and concert hall, and a roller skating rink. Its entertainment functions were preserved during a reconstruction in 1930s. Leningrad City Council Palace of Culture. Image © Leonid Balanev The new house of culture contained two halls: a theatre hall with a speaker-shaped acoustic ceiling, and a small cinema hall protruding from the side of the building. Plans to construct a sport section with a swimming pool were scrapped. Despite Levinson's personal insistence, only a 30 meter tower was built instead of a 46 meter one. That decision stripped the building of its potential height accentuation and gave it a stretched appearance. Leningrad City Council Palace of Culture. Image © Leonid Balanev The authors of Leningrad Avant-garde Architecture point out similarities between the floor-to-ceiling glass panels of the Palace's library section, located in the corner of the building, and Bauhaus. The suspended glass surfaces and glass structures concealed within them dominate the corner and form a single large body. The spatial glass design—a radical functionalist technique—was inspired by Gropius's Bauhaus. However, in the final design the transparent surfaces are instead decorated with an intricate geometric pattern. A lonely balcony piercing the smooth glass screen is a single high-pitch tone within this melody. Communal House of Former Political Prisoners Society. Image © Leonid Balanev Communal House of Former Political Prisoners Society (1929-1933) Location: 1 Troitsky Square Avant-garde architecture was mainly developing in the Leningrad outskirts, but sometimes projects of high importance were admitted to the historic center. The Former Political Prisoners Society Communal House, built across from the Peter and Paul Fortress, is one such example. Communal House of Former Political Prisoners Society. Image © Leonid Balanev The Former Political Prisoners Society was established in 1921 by former political prisoners of the tsarist government. In late 1920s the society had 2,759 members and more than 50 branches across the country. However, when the construction of the communal house began, the lifespan of the Society was already approaching its end – the Society was officially closed in 1935. Many of the house residents fell under a new wave of Soviet repressions; their names have since been commemorated on a memorial stone near the house. But back when the house was still in construction, hardly anyone could expect such a dark turn. The house was built with the idea of the bright future of a new communal lifestyle and cultural life. Communal House of Former Political Prisoners Society. Image © Leonid Balanev The communal complex was divided into three buildings with 200 two- and three-room apartments each, meant to accommodate one person per room. The communal apartments lacked kitchens and were fitted only with electric ovens for heating up the food. The house had a developed infrastructure, including a 500-seat hall, a cafeteria, a kindergarten, a solarium, a laundry and a library. The building also accommodated a Labor Camp and Exile Museum. Most of the infrastructure was located downstairs. Continuous glass panels on the first floor created an impression of the building floating above ground. Just a minute's walk from the house takes you to the Stalin Rail Transport Academy, another remarkable avant-garde building created by the same architects (Grigory Simonov, Pavel Abrosimov, Alexander Khryakov). The house, allegedly built in the shape of hammer and sickle, features an expressive curved façade with embedded vertical staircases. A protruding wedge-shaped corner of the building pierces the air. Ilyich House of Culture. Image © Leonid Balanev Ilyich Palace of Culture (1929-1931) Location: 152 Moskovsky Avenue Two remarkable avant-garde era buildings are located on Moskovsky Avenue. The Ilyich Palace of Culture, one of them, was designed by Nikolay Demkov for the employees of the Electrosila plant. Demkov is known for designing numerous bland public buildings; however, the Ilyich Palace of Culture, a unique project, is considered to be Demkov's magnum opus.   Ilyich House of Culture. Image © Leonid Balanev A bird's-eye view reveals that the palace is built in a zigzag shape. The theatre section of the building facing the Moskovsky Avenue contains a main hall, a lobby and a foyer. The club section,with rooms for hobby classes, sports classes and a cafeteria, is located further inside. The architect uses both glass and windowless elements to create a certain dialogue between these two parts of the building. "On the southern side of the building trapezoid bay windows absorb light with their wrinkled glass panels, creating a pulsating light effect inside," says Margarita Shtiglits. She continues: Ilyich House of Culture. Image © Leonid Balanev The second floor foyer faces the Moskovsky Avenue with large, almost ceiling-high windows, giving it an appearance of a glass terrace. A large stairway in the club section is illuminated by two vertical floor-to-ceiling panels. The entrance to the club part pierces a huge white square of a windowless wall. The pattern is repeated in a gym room where a black circle is formed by a singular window. Moscow District Council. Image © Leonid Balanev Moscow District Council (1931-1935) Location: 129 Moskovsky Avenue Across from the House of Culture stands a more monumental building. The Moscow District Council building is the first large project developed by Igor Fomin, son of the renowned architect Ivan Fomin. A five-store giant cylinder is the centerpiece and the most prominent part of the building. Inside, the most popular departments of the city council were arranged in a circular pattern. Instead of corridors, the departments were interconnected by a series of galleries. The central part of the cylinder contains a domed hall. Interestingly enough, windows are not used to create either vertical or horizontal accents; instead, glass elements are dispersed evenly just like the other external elements. The rest of the building largely copies the layout of other district councils. The linear part of the building accommodated administrative departments, while the round part contained an audience hall. Moscow District Council. Image © Leonid Balanev Even a rough visual comparison of the two buildings located on the Moskovsky Avenue demonstrates that the construction of the second building took place in a later time period and was influenced by other styles. According to Shtiglits, this "adulterated constructivist vocabulary" could be considered one of the hallmarks of the Leningrad avant-garde. Red Banner Factory Substation. Image © Leonid Balanev Red Banner Factory Substation (1926-1928) Location: 53 Pionerskaya Street The Red Banner factory used to be one of the largest textile facilities in the country. In the early 20th century the factory manufactured nearly 40% of all textile products made in Russia. In 1920s a decision was made to renovate the entire factory complex. The renovation project was offered to invited German architect and industrial construction expert Erich Mendelsohn. Unfortunately, the unique daring project proposed by Mendelsohn was not implemented. The omission of the official contest procedure in favour of a foreign architect caused an uproar among Leningrad's own architects. Additionally, the project proposed by Mendelsohn could not be implemented at the chosen location. As a result, the German architect renounced his authorship and abandoned the project. Nowadays experts agree that the factory substation, despite being the only implemented element of Mendelsohn's original design, still made a significant impact on the Leningrad avant-garde style. Red Banner Factory Substation. Image © Leonid Balanev The substation is divided into several distinctive blocks. A rectangular block, distinguished by a horizontal rhythm of glass panels and reinforced concrete frames, stretches along Pionerskaya Street before ending with a pronounced rounding. The lower rounded brick section contained filters, while the upper part held water reservoirs. The upper part, almost windowless and bounded by metal hoops, creates an image of a ship towing the rest of the factory. According to Kirikov and Shtiglits, the substation can be considered to be Mendelsohn's own manifesto. "Mendelsohn's 'function plus dynamic' concept was successfully implemented in the architectural appearance of the substation, which combines the elements of both functionalism and expressionism. The building, despite the lack of public recognition, was one of the most important pages in the development of the Leningrad avant-garde." Water Tower and Rope Production Facility (Kransy Gvozdilshchik). Image © Leonid Balanev Water Tower and Rope Production Facility – Krasny Gvozdilshchik Factory (1929-1931) Location: 6 25th Liniya Street Another Leningrad avant-garde masterpiece is located at 25 Liniya Street on Vasilyevsky Island. The local factory was established in the 19th Century; later, in the 1920s, it underwent modernization and was renamed. The project was joined by the "Soviet Piranesi," Yakov Chernikhov. At Krasny Gvozdilshchik, Chernikhov designed an expressive water tower and a rope production facility (the latter has since been stripped of Chernikhov's original design). Water Tower and Rope Production Facility (Kransy Gvozdilshchik). Image © Leonid Balanev The shape of the water tower, as simple as it is, is a perfect showcase of the advantages of reinforced concrete. A thin and high rectangular structure supporting the water reservoir hides a staircase inside. Two additional columns provide extra support for the reservoir. The water tower resembles a nail, adding symbolic value to an object located at a nail-production facility. "The Tower at Krasny Gvozdilshchik is a unique example of a successful project designed by Chernikhov," says Alexander Strugach. "Only a handful of Chernikhov's projects were actually implemented; this architect is largely known thanks to his sketches and ideas. I personally recommend his books Architectural Fantasies: 101 Compositions and Constructing Architectural and Mechanical Forms. In these books, even his choice of wording is unusual. The tower represents the scale of Chernikhov's architectural calibre. No wonder Zaha Hadid spent time to personally study the tower during her stay in Saint Petersburg." Vyborgsky District Factory Kitchen. Image © Leonid Balanev Vyborgsky District Factory Kitchen (1929-1930) Location: 45 Bolshoy Sampsonievsky Avenue In a way, avant-garde architecture can be regarded as a reflection of Leningrad's overall development during the 1920s and 1930s. Avant-garde buildings and blocks were meant to bring change into people's lifestyles, especially on the outskirts of the city. "Workers who used to live in old, shabby houses or even at the factories where they worked before the revolution were granted new places to live, complemented with necessary infrastructure. I doubt that they found their new homes beautiful. But the quality of their lives still improved," comments Strugach. In order to provide proper infrastructure, new types of buildings, such as factory kitchens, were designed. In Leningrad, factory kitchens were developed by the ARU group (ARchitecture Urbanists) consisting of Armen Barutchev, Isidor Gilter, Joseph Meerzon and Yakov Rubanchik. In total, four factory kitchens were built in the city, each under a unique project. One of these kitchens was built in Vyborgsky District. According to a 1933 city guide, this factory kitchen served 22 enterprises employing over 40,000 workers and produced 22,000 to 33,000 meals every day. The facility also included a cafeteria and a shop. Vyborgsky District Factory Kitchen. Image © Leonid Balanev Inside, differently-shaped rooms are arranged in a circle pattern, fitting the process of preparing food and getting it delivered to the cafeteria. The building was originally surrounded by a garden and cafeteria patrons could sit outside on the open terraces. Nowadays, that concept can barely be recognized. However, a large canopy, a glass panel decorating the main staircase, continuous windows and a play of spaces are still present. The latter marks the building's resemblance to the Moscow constructivism school, says Strugach. Also, the cafeteria's windows appear to have been designed to face the nearby Saint Sampson's Cathedral built in the 18th Century. Round Bathhouse on Muzhestva Square. Image © Leonid Balanev Round Bathhouse on Muzhestva Square (1927-1930) Location: 3 Muzhestva Square A round bathhouse designed by Alexander Nikolsky has two reasons to be considered remarkable. First, the bathhouse is a daring example of a modern multifunctional building. The original plan involved placing baths inside a round cylinder structure running around a glass-domed internal yard with a swimming pool. The rooftop, accessed via several ramps, would be used as a solarium, while the cylinder building itself could be accessed through an adjacent rectangular lobby. In order to preserve heat the bathhouse would be partly buried into the ground. Unfortunately, this idea, as well as the glass dome concept, was scrapped due to technical issues. However, the bathhouse, which continued to function even through the Siege of Leningrad, still serves its purpose today. The second important feature of the building lies within the minimalistic appeal of its forms, which reflect one of the unique attributes of the Leningrad avant-garde school. According to Strugach, the bathhouse should be regarded as a Suprematism style composition. Round Bathhouse on Muzhestva Square. Image © Leonid Balanev Alexander Nikolsky and a circle of his architect friends shaped the essence of the Leningrad avant-garde style. They focused their efforts on promoting the Suprematism movement and working with pure large forms, unlike the Constructivists, who preferred to augment the buildings with various protruding elements. The round bathhouse designed by Nikolsky features brutal European forms. It is an uncut piece of material placed on the ground. People used to plasticity may find it hard to discover the true value and appeal of that building, but that does not diminish its significance." You could compare it to the recently opened Museum of Russian Impressionism, where the very same concepts found further development. This posting includes an audio/video/photo media file: Download Now

YAC Announces Winning Projects for Two Road Monuments Celebrating Lamborghini’s Legend Posted: 19 Dec 2016 07:30 PM PST Courtesy of YAC YAC - Young Architects Competitions – and Automobili Lamborghini  have announced the winners of Lamborghini Road Monument, an international architectural competition launched last September in cooperation with the Region of Emilia-Romagna, the Municipalities of Bologna and Sant'Agata Bolognese, the School of Fine Arts of Bologna and Unindustria Bologna. The aim of the competition was to design two architectonic installations in order to emphasize the importance of Lamborghini's sites in Sant' Agata Bolognese, near Bologna (Italy). The installations had to embody the values of a world-renowned brand, aiming at sculpting in matter the history of speed, power, and innovation. Four distinguished architectural studios like Zaha Hadid Architects, Studio Fabio Novembre, Libeskind studio, Foster+Partners assessed the submitted projects with Francesco Dal Co, Director of Casabella magazine, Giuseppe Cappochin, President of the Italian National Association of Architects, Annalisa Trentin from the University of Bologna and Stefano Domenicali, Chief Executive Office of Automobili Lamborghini.  The jury noticed a high-quality standard of designs and Automobili Lamborghini decided to award two projects the 1st Prize, rewarding ACQ studio and ZERONOVE ARCHITECTURE teams with a cash prize of € 12,000 each and with the construction of their installations. The second (€ 4,000) and third (€ 2,000) prize were respectively awarded to FPMG and Casamassima Mazzocchini Notari teams. Moreover, CDA and Mass & Volume / Architecture, Art & Design Studio teams won a gold mention (€ 1,000 each). Follow up 11 Honorable Mentions and 30 Finalist Mentions. All 47 rewarded teams were awarded one year subscription to Casabella magazine. Further information about the competition on YAC's website. First Prize Winner - Team ACQ Studio Alessandro Galastri, Guido Quirici, Nicolò Campanini, Giacomo Cozzi, Andrea Maltinti – Italy  TEAM ACQ studio. Image Courtesy of YAC From the architect: Lamborghini's origins are deeply rooted in a pristine landscape. Not unlike a mechanized plow, it brought a revolution to this land's quiet world and has been the driver of ongoing change ever since. The proposed installation celebrates the identity of the Sant'Agata Bolognese area through two monuments that embody its history and the never-creasing, cutting-edge growth of a unique brand. The piece folds and shoots upward dynamically while maintaining purity in its jagged, yet continuous line. Through this new symbol of speed and power, visitors from around the world will immediately grasp the essence of this place that has spawned such excellence in automobile engineering. First Prize Winner - Team Zeronove Architecture Davide Pontoni, Viola Gurioli – Italy  TEAM ZERONOVE ARCHITECTURE. Image Courtesy of YAC From the architect: Like the perception of reality is distorted while driving at a high speed, the monuments, finished with mirroring panels, aim to deform the reality by scattering the reflection of the surrounding. The geometry of a Lamborghini Reventon has been first simplified in a number of vertical sticks (Monument 1) and then in a number of vertical planes (Monument 2). To emphasize the sense of speed, the sticks and the planes are tilted by 30°. From the cockpit of a Lamborghini the reality is blurred, in constant mutation, un-framable. Likewise, the monuments are. Second Prize - Team FPMG Francesco Pergetti, Mattia Grilli – Italy  SECOND PRIZE – TEAM FPMG. Image Courtesy of YAC From the architect: Like inside a bottom-up pulsation modeling the land in determined way, level until that moment, the two elements will seem excluded from the territory, reminding the long canal banks along the streets of this area. Without optical interruptions along the main axis, the road will be framed by the two identical elements, highlighting its importance for the territory and Lamborghini brand. Third Prize - Team Casamassima Mazzocchini Notari Giorgio Notari, Alessio Casamassima, Damiano Mazzocchini – Italy  TEAM Casamassima Mazzocchini Notari. Image Courtesy of YAC From the architect: An elegant and sharp design, dynamic and slim, both installations aim to represent moving elements, enhancing the purity of shapes and the sense of movement and speed, thanks to their plastic and sculptural composition: each installation is composed of four gate structures, combined so that each of them melts inside the following creating a strong dynamism and a clear balance between lights and shadows. Gold Mention – Team CDA Chris Dawson, Jan Baros, Klara Konecna, Rob Jones, Ava Helm – USA  TEAM CDA. Image Courtesy of YAC From the architect: Researching the model history of the House of the Raging Bull, it was evident that the Lamborghini body design vacillates between angular and curvilinear styling. Structural steel frameworks are wrapped with perforated metal skins in dynamic forms that strike powerful and varied memorable poses as one approaches from any of the 4 directions and then circles the roundabouts. Gold Mention – Team Mass & Volume / Architecture, Art & Design Studio Constantinos Louca, Konstantinos Nikolaou – Cyprus TEAM Mass & Volume / Architecture, Art & Design Studio. Image Courtesy of YAC From the architect: To highlight Lamborghini's pioneering tradition in automobile aerodynamics, the design finds inspiration in airflow lines and vents commonly incorporated in the design of supercars for improved aerodynamic performance. The repetitive parallel linear nature of airflow lines and the layered design of Lamborghini rear vents are expressed with the composition of repetitive vertical slabs. With an angular placement of each slab, the design communicates a dynamic aesthetic, expressing movement and high speed. Honorable Mention - Team GKCF Chris Falla, Giota Kotsovinou - UK  TEAM GKCF. Image Courtesy of YAC Honorable Mention – Team Enrico Pata Enrico Pata – Italy  TEAM Enrico Pata. Image Courtesy of YAC Honorable Mention - Team HYPNOS Jan Popowski, Nicola Brembilla – Italy  TEAM HYPNOS. Image Courtesy of YAC Honorable Mention - Team ims Berat Sezer, Gazmend Imeri, Raphael Maurer – Switzerland  TEAM ims. Image Courtesy of YAC Honorable Mantion - Team FLORIAN MARQUET Florian Marquet – Japan  TEAM FLORIAN MARQUET. Image Courtesy of YAC Honorable Mention - Team Project Initiative Chayothorn Songtirapunya, Pichayut Vacharavikrom, Napone Chinwatanakit, Nitiwath Thipakkarayod, Pathawee Khunkitti – Thailand  TEAM Project Initiative. Image Courtesy of YAC Honorable Mention - Team AI studio Alexandra Sinitaru, Andrada Ispas – Ireland  TEAM AI studio. Image Courtesy of YAC Honorable Mention - Team AWGE Wesley Liew, Engeland Apostol, Azhar Azmi – UK  TEAM AWGE. Image Courtesy of YAC Honorable Mention - Team MK2J Julien Giammarchi, Maud Laronze, Catherine Bui, Johann Baisamy – France  TEAM MK2J. Image Courtesy of YAC Honorable Mention - Team Balloon Lukasz Wojciechowski, Paulina Libiszewska – Australia  TEAM Balloon. Image Courtesy of YAC Honorable Mention - Team Didone Comacchio Paolo Domenico Didonè, Devvy Comacchio, Gianmarco Miolo – Italy  TEAM Didone Comacchio. Image Courtesy of YAC Flip through the gallery below to see all 30 finalists.  This posting includes an audio/video/photo media file: Download Now

Corner House / DSDHA Posted: 19 Dec 2016 07:00 PM PST © Christopher Rudquist Architects: DSDHA Location: Margaret Pyke Centre, 73 Charlotte St, Fitzrovia, London W1T 4PL, UK Project Team: Deborah Saunt, Tom Greenall, Matthew Lambert, Arnold Seligmann, Deb Adams, Natasha Reid, Luke Jackson, Jeremy Corminboeuf, Marine Fleury, Marianna Filippou Area: 1800.0 m2 Project Year: 2015 Photographs: Christopher Rudquist , Luca Miserocchi, Helene Binet Contractor: Knight Harwood Structural Engineer Services: Elliott Wood Sustainability Engineer: GDM Partnership Cost Consultant: Core 5 Project Management: Gardiner & Theobald Delivery Architect: Veretec Fire Consultant: BWC Fire Limited Landscaping: Del Buono Gazerwitz Landscape Architecture Housing Association: A2Dominion © Christopher Rudquist From the architect. DSDHA has worked in collaboration with Derwent London to deliver a discreet yet alluring brick corner building in Fitzrovia, central London, that brings delight to its surroundings while engaging in an active dialogue with the wider context of the city. © Christopher Rudquist Corner House strives to introduce a new type of contemporary beauty, one which is less ostentatious yet captivating, building on the qualities of its location to provide a highly sustainable solution that embodies high quality design and craftsmanship. © Luca Miserocchi While at an urban level it celebrates the ordinary street corner, Corner House inverts this typology (typically presenting a more articulated treatment of the façade at the ground level) and places two jewel like crystalline pavilions on the rooftop, opening up a series of unexpected views onto Londonʼs variegated and ever changing roofscape. Axonometric Corner House provides a mix of private and affordable homes, along with a commercial space on the ground floor. Over its six-storeys the building comprises 11 apartments, nine private and two affordable, all of which comprise double or triple aspect rooms with exceptional levels of daylighting. © Helene Binet The original site comprised three distinct buildings, which were subsequently replaced by a large modern scheme. Corner House attempts to bring back the character of the original structures, consolidating their identities into a single block that reflects the urban hierarchy of the surrounding streets – the grander Charlotte Street and quieter Tottenham Street, and the more utilitarian identity of Tottenham Mews. © Christopher Rudquist The entrances to Corner House are configured to respond to the local context; the commercial unit faces the noisy thoroughfare of Charlotte Street with its commercial frontages; the apartments have entrances on the quieter street and mews. © Luca Miserocchi The pavilions on the roof offer a hidden terrain to the project that only becomes apparent upon enquiry, occupying as they do the Rights Of Light envelope established by neighbouring buildings. Corner House does not disrupt the consistent morphology of the solid brick facades that characterise the neighbourhood – however the shifting planes of its slightly angled windows on the uppermost floor suggest something unexpected. © Luca Miserocchi Drone photography, satellite views and new forms of mapping technologies have changed the way we understand and navigate the urban landscape. We are now accustomed to visualise the latter mainly from above, with the consequence that the roof has become a relevant fifth elevation. The articulated geometry of Corner House facade and pavilions reflects this perspectival shift, it multiplies focal points and dissolves traditional linear perspective therefore suggesting an alternative dimension from which to appreciate the building and its surrounding views. Technically challenging yet appearing disarmingly simple, they are in an effortless dialogue with other roof structures scattered on the horizon nearby. © Helene Binet Unlike most new projects that use brickwork as a non-structural cladding, here the brickwork for the main body of the building is self-supporting, bearing its own substantial weight, thereby relieving loading on the superstructure, and minimising amount of the concrete used on the project and the energy embodied in its production. What could have become a monolithic façade is refined by the use of lime mortar, to eliminate expansion joints, and bespoke metal work balustrades. © Helene Binet DSDHAʼs analysis of Charlotte Streetʼs Conservation Area informed the design and ensured a contextual response. The design seeks to restore some key local features of typical Fitzrovian terraces, such as an emphasis on verticality where strong horizon lines mark a tripartite division of plinth-body- roof, masonry construction with punched apertures and a high ratio of wall to window. © Christopher Rudquist The stepped reveals to the facades were the result of extended research and testing to capture the craftsmanship of masonry construction yet it is treated with plasticity to achieve a dramatic effect. Bespoke lintels help span the bays which relate proportionally one to another, reflecting the geometric derivations of most of Fitzroviaʼs architecture. As a result each floor has a slightly different relationship between the sill and the internal floor levels, making the building appear less relentlessly stacked and subtly differentiated. © Christopher Rudquist Corner House is part of a wider regeneration plan to improve and restore the character of Fitzrovia ahead of the arrival of Crossrail to Tottenham Court Road in 2018. With over 36% of its property portfolio located in Fitzrovia, Derwent London have a good relationship with its community and working closely with London Borough of Camden they have been able to redevelop this part of central London in a holistic way. Corner House is within a 500m radius of Suffolk House, a former warehouse building that DSDHA converted and extended into affordable residential accommodation for Derwent London in 2014. The attic floor sits lightly on the existing building and its triangulated roofscape shares a formal language with the pavilion roofscape of Corner House. © Christopher Rudquist To the west of Corner House DSDHA is leading the rejuvenation of the public realm around Tottenham Court Road, a commission by the London Borough of Camden which is just starting on site. DSDHA have devised a highly sustainable transport scheme and designed new ʻpocketʼ parks, which punctuate the individual journeys through the area, lowering the speed at which one engages with this unique part of the city. © Christopher Rudquist This posting includes an audio/video/photo media file: Download Now

Barn Rijswijk / Workshop architecten Posted: 19 Dec 2016 06:00 PM PST Courtesy of Workshop architecten Architects: Workshop architecten Location: Rijswijk,The Netherlands Area: 270.0 m2 Project Year: 2016 Photographs: Courtesy of Workshop architecten Contributors: Sander Gijssen, Johan de Wit, Laura Berasaluce Achaerandio, Ergin Kurt Contractor: Legemaat van Elst Courtesy of Workshop architecten From the architect. On an estate of 4.5 hectares, surrounded by a century old fruit trees, the client wanted to replace a neglected sixties barn by a contemporary design. The new barn fits to both the landscape and the historical buildings on the estate, where the main building is the monumental farm 'Rottenburg'. Besides shelter for the sheep and storage, the new barn also accommodates an apartment. Courtesy of Workshop architecten Floor Plan Courtesy of Workshop architecten The main structure consists of four timber slabs that divide the barn into three zones: a barn area, a semi-transparent intermediate zone and an apartment. Openings in the slabs offer a view from the apartment in the yard and the old orchard. The semi-transparent intermediate zone connects the south-west side with the north-east side of the farmyard. The facade consists of black-stained Douglas, which contrasts with the raw wood on the inside. Courtesy of Workshop architecten Structure Courtesy of Workshop architecten This posting includes an audio/video/photo media file: Download Now

Mehrabad House / Sarsayeh Architectural Office Posted: 19 Dec 2016 02:00 PM PST © Farshid Nasrabadi Architects: Sarsayeh Architectural Office Location: Isfahan, Isfahan Province, Iran Architect In Charge: Behnam Sefidi Area: 1350.0 m2 Project Year: 2016 Photographs: Farshid Nasrabadi Design Assist : Hengameh Akbari Contractor : Farhad Bahramipour Client : Ali Mirhosseini © Farshid Nasrabadi From the architect. For those people who have a long experience of living in single-unit houses with a courtyard, it is a great challenge to change their life style and live in apartment houses. Losing many of desirable advantages of single unit houses such as independency, fellowship with nature, existence of hierarchy and, natural ventilation and … is a trouble for the people who want to live apartment units. © Farshid Nasrabadi And also in this project the client had decided to transform his single unit house into a triple unit apartment for himself and his two children. In fact Mehrabad House is an effort to reduce the negative impacts of this transformation in peoples life style.  © Farshid Nasrabadi So in design career the following decisions were made: -According to the emplacement of fatherhood house in highest level, some part of roof area considered as a courtyard for this unit (as an equivalent for old yard in old fatherhood house), and some spaces in old fatherhood yard like flower bed, some roofed spaces for sitting and a barbecue, recreated in the new courtyard. © Farshid Nasrabadi -In the next step for having the maximum visual connection between this unit and its courtyard in roof area, we broke the saloon's roof in to two parts with different height. So we gained better ventilation and lightening condition and a desirable visual connection. Basement / Ground Floor 1st / 2nd Floor -Creating an open space in north side of building as a patio beside the family room and creating a green wall inside it in order to making the sense of freshness and having natural ventilation inside. -As old fatherhood house had a semi-open and very useful space called AIVAN(a Persian word) beside the main hall, we tried to create an equivalent for it in new fatherhood house in north side of building. - Trying to creating suitable spaces as a reply to privacy need of people. © Farshid Nasrabadi -Creating some green spaces with plants in different levels of building, in order to running away from spiritless sense of living in an apartment. - making some places in building's façade for plants growth and using material like wood and brick (as we believe that they are breathing all the time) to make the building alive. © Farshid Nasrabadi Product Description. Brick is one of the main materials used in this project. And it is because of the historical background of the project's city that logically leads the architect's mind toward vernacular materials in order to harmonize the project with its context. This posting includes an audio/video/photo media file: Download Now

Heduli Paddy Hotel / C&C DESIGN Posted: 19 Dec 2016 12:00 PM PST Courtesy of C&C DESIGN Architects: C&C DESIGN Location: Huizhou, Guangdong, China Architect In Charge: Peng Zheng Design Team: Peng Zheng, Huang Zhijian Area: 1565.0 m2 Photographs: Courtesy of C&C DESIGN Courtesy of C&C DESIGN From the architect. The project is located in Hedu Village, Heng River, Huizhou. It is a resort area integrating ecotourism, agricultural experience and leisure vacation. The main building of the project is rebuilt from the discarded primary school buildings. The project is school-enterprise cooperation in social charity  which is leading participation by C&C DESIGN CO.,LTD. Courtesy of C&C DESIGN The Design advocates the harmonious relationship between man and land, respect for the ecological civilization of land, do not do new town, do not Peach Blossom Spring, must to do poetic dwelling under the modern civilization, while avoiding excessive business and impetuous and low-end homogenization of development.Nature and simplicity constitute the tone of the entire site, leisure and tranquility is the soul here, local ecology and farming culture is the life here, is the site of the most valuable resource.We hope that through our efforts, let the design to meet livable ,play and visit at the same time, re-lit here  faded rural vitality gradually, to explore the possibility of rural revival of modernity. Courtesy of C&C DESIGN Elevation - Section Courtesy of C&C DESIGN Heduli Paddy Hotel --Pure natural B & B, stay in will be able to feel the frogs voice, flowing springs in the mountains, rice fragrance, lotus breeze, star moon . It is 18 km from here to the Luofu Mountain 5A-class scenic area , the hotel covers an area of 4,000 square meters, 30 different styles of farm-themed rooms and 3 single-family villas embedded in rice fields or hillside, one-stop restaurant, multi-dimensional office.Viewing smoke in the morning, visiting agricultural park in the afternoon,  strolling country greenway the evening, like bamboo fishing, jungle shuttle, mountain cross-country,  Courtesy of C&C DESIGN This posting includes an audio/video/photo media file: Download Now

Scenic Ballade / HAO Design Posted: 19 Dec 2016 11:00 AM PST © Hey!Cheese Architects: HAO Design Location: Kaohsiung city, Taiwan Area: 165.0 m2 Project Year: 2016 Photographs: Hey!Cheese © Hey!Cheese From the architect. Scenery as an Integral Part of Everyday Life  A better understanding of our clients' tastes enables us to more clearly envision what they need within their homes. In this particular case, the client, who yearned to live in a home with an expansive park view, contacted us during the pre-sale stage of an apartment in a new building to be constructed in the city of Pingtung and requested assistance for the design of their home. Mr. and Mrs. Hsu are very fond of the classic style, while their children prefer simple yet stylish decor. We endeavored to find middle ground by taking into account the different needs of each individual so as to formulate an all-encompassing design. This was how we proceeded: we started by identifying the apartment's strength, which is the beautiful park scenery just outside the window, and we considered how the Hsu family would enjoy it from all angles of their home. At the same time we attempted to fulfill everybody's needs in terms of their preferences for style. © Hey!Cheese Even though the "classic style" is typically associated with the complex and resplendent, we selected the spectacular view outside the window as our point of departure and gradually veered toward the decision to leave the entire interior space "blank." That is to say, we proposed to create an environment of serenity and comfort by employing pure white as the primary backdrop. To elegantly exhibit aspects of classical design, we utilized symbolic elements and simplified the complex lines by interpreting classical beauty with a modern approach. We chose white as the background color of the living room wall, to which we added European-style cornices. The original black window frames were replaced by round, arched windows in order to soften the space and to form a visual reference. We strategically arranged the placement of the dining table, lamps, sofas, all the way to the window seat, in a way so that they form a visual continuity extending toward the scenery outside the window. © Hey!Cheese Plan © Hey!Cheese In the original layout of the apartment, the kitchen faced south; we altered the floor plan by creating an open space combining the kitchen with the living room. We additionally installed a kitchen island to facilitate the preparation of cooking ingredients. In consideration of Mrs. Hsu's baking interests, we also designed a simple yet spacious cabinet, which not only provides ample storage but moreover adds a touch of elegance to the overall environment. With respect to the north side of the apartment facing the window, we designed a personal space for Mr. Hsu that accommodates his reading needs and his habits of watching TV and listening to music. We defined the space of the "study" using a heavyweight armchair and designed a stainless steel TV wall which automatically rotates 360°and a side section that provides storage for headphones, magazines and other beloved objects. Thanks to the chair with a foot bath we purposefully installed, Mr. Hsu will be able to fulfill his dreams of enjoying the scenery inside of the small adjacent balcony without suffering from the winter cold. © Hey!Cheese The common family space, which begins with the pleasant external scenery, is designed so that each individual may focus on their preferred pastimes yet at the same time interact and communicate with each other within an open space. Their bedrooms in turn serve as private enclosures each designed in their favorite styles. The master bedroom is a continuation of the white tonal backgrounds of the living room. The wooded floor however is tinted several shades darker to give warmth to the room. On the back wall of the bed and on the ceiling, we designed symbolic natural "leaf vein" patterns to resonate with the greenery outside the window and to mitigate the weight and presence of the low beams. For the bathroom, we decided on a combination of white stones and tiles with detailed embellishments such as lighting and metal trimming to accomplish an eclectic mix of casual and classical. As for the two secondary bedrooms, we proceeded according to the children's unique personalities, which is why each door seems to lead into a distinctively furnished boutique hotel room. The boy's room, furnished with leather and metal ornaments, manifests the staunch, virile and resolute character of a young man who is still somewhat introverted. The girl's room on the other hand emits an ambiance of casual coziness with its cement textured backdrop and matching designer furniture. All of this ultimately culminates in a home in which each individual is able to locate their preferred space and place for comfort and contemplation.  © Hey!Cheese This posting includes an audio/video/photo media file: Download Now

Oak Grove / Justin Mallia Posted: 19 Dec 2016 09:00 AM PST © Shannon McGrath Architects: Justin Mallia Location: Melbourne VIC, Australia Architect In Charge: Justin Mallia Area: 485.0 m2 Project Year: 2015 Photographs: Shannon McGrath, Prue McMillan Building Surveyor: BSGM Pty Ltd Structural Consultant: Beauchamp Hogg Spano Landscape Consultant: Urban Initiatives Hydraulic Consultant: CR Knight & Associates Land Surveyor: Terrain Consulting Group Planning Consultant: Nicholson Planning and Development Builder: Ducon Pty Ltd © Shannon McGrath From the architect. Oak Grove is a development driven venture.  Between a detailed client brief laden with ideas about visual style, and the site located in an eclectic Australian suburban context, the architecture negotiates a meaningful contemporary response within highly saturated physical and conceptual parameters. © Shannon McGrath For cost efficiency the project involves two identical rectangular houses placed at ninety degrees to one another creating a garden setting that brings the feeling of the large street trees into the site.  Each house has the same folded front façade derived from the site's slightly angular orientation to north, with different alternate facets protruding, openable, glazed or solid, giving all habitable spaces flexible cross ventilation, north orientation and connection to outside.  With each façade designed to be suitable at two different orientations, the resulting appearance from the street is a series of differently folded shifting patchwork elevations rather than two identical buildings alongside one another. © Prue McMillan Lower Plan © Shannon McGrath The project procures a sense of value through the expression of inexpensive materials according to their attributes and the amplification of the detail and craftsmanship inherent in the use of these materials which are usually ignored or concealed.  Both inside and out, the entirely timber framed structure is also exposed in places, enrichening the multilayered architectural textures, rhythms and scales of the buildings.  These patchwork assemblages are accordingly integral to the building fabric, with interior compositions tailored to the immediate purpose of the interfaces to each space. Upper Plan Almost all surfaces of the project are coloured white.  This combines them with a sense of unity in themselves and identity in an overwhelming context of different influences, while the sensitive consideration of the transparency, gloss levels and weathering of coatings, accentuates the subtly rich façade composition, heightens the perception of the careful detailing and enables a delightful engagement with the filtering light and shadows of the trees. © Shannon McGrath With the uncertainty of how a development project will be occupied, this scheme is an environmentally sensitive, flexible and tactile background for living that unashamedly but humbly fits in with and shares the aspirations of its client and context. © Shannon McGrath Product Description.  A major principle of the project is the expression of everyday construction methods in a manner that exposes and expresses the inherent craftsmanship within them that is usually concealed or ignored.  Two different variations of "Shadowclad" exterior plywood cladding are used in combination with different arrangements and rhythms of battening that are actually an amplification of the use of straight forward coverstraps at joints.  This exposes the normally ignored craftsmanship of standard timber panel construction methods to give an impression of customised detail and quality.  Integrated within the same overall patchwork facade appearance, exterior plywood is designed into sliding and shifting insulated panels that form the flexible, folded sections of the custom designed façade system. The natural wool light fittings are hand crocheted by my mother.  In a project that is coloured almost entirely white, these soft, natural fittings filter light and are tactile objects in themselves.  They continue the white colour of the project and contribute to the multilayered variances in rhythm, texture and material that is achieved through the patchwork surfaces of the building. © Shannon McGrath This posting includes an audio/video/photo media file: Download Now

SANAA's Zollverein School of Management and Design Photographed by Laurian Ghinitoiu Posted: 19 Dec 2016 08:15 AM PST © Laurian Ghinitoiu SANAA's Zollverein School of Management and Design in Essen, Germany, is a perfect 35 meter-cube. The building's dominant presence, which is particularly striking amid its suburban context, extends to the interior spaces. The architects felt "that exceptional ceiling heights were appropriate for the educational spaces, particularly for the studio level that occupies an entire slab of the structure." Indeed, this production floor is "an unusually lofty and fully flexible space," enclosed only by the external structural walls. Photographer Laurian Ghinitoiu has visited the building, which was completed in 2010, to capture a fresh view on this seminal project. © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu This posting includes an audio/video/photo media file: Download Now

Showroom Riccó Façade / SuperLimão Studio Posted: 19 Dec 2016 07:00 AM PST © Maíra Acayaba Architects: SuperLimão Studio Location: Av. Brasil, 1300 - Jardim America, São Paulo, Brazil Project Team: Lula Gouveia, Thiago Rodrigues, Antonio Carlos Figueira de Mello, André Sauaia, Ana Carolina Bryn Execution Mangment: ANF Engenharia Aluminium Plates: Riccó Project Year: 2016 Photographs: Maíra Acayaba © Maíra Acayaba SuperLimão Studio was invited by Riccó to develop a design to their new space facade in São Paulo (Brazil). With the aim to provide more visibility and convey attributes linked to a century corporate furnitures brazilian brand, the big challenge was to build a new facade to a preexisting building located in one of the most important avenue in the city.  © Maíra Acayaba Riccó is located in an important corner of Avenida Brasil. The new store position helped to establish some of the most important concepts of the brand, such as tradition and precision of its production. After several materials, composition and volume studies, SuperLimão chose a metallic wrap element.  The metallic wrap referes to the tradicional Origamis and was mainly inspired by the Miura-Ori model, created by the Japanese astrophysicist Koryo Miura. The project used approximately 600 pieces in composite aluminum plates, developed inside Riccó industrial structure.   © Maíra Acayaba SuperLimão designed a base structuring grid that was repeated sequentially covering the all surface. In the entire facade - 33 meters length in front side - only two forms were used, lozenges and triangles. Also, some different colors and textures were used, gray or withe, perforated or plain.  Section Façade The opening have the depth of 70 cm and permeates two still faces in both corners. The store entrance links this two windows and turning the facade in to one peace. This space fills the function of exposing various lines of securities of Riccó. © Maíra Acayaba This posting includes an audio/video/photo media file: Download Now

15 Finalists Selected for the 2016 Art of Building Photographer of the Year Award Posted: 19 Dec 2016 06:20 AM PST "The Hive". Image © Marco Grassi Fifteen stunning images from top photographers around the world have been selected as finalists of Chartered Institute of Building's (CIOB) 2016 Art of Building Photographer of the Year competition. With subjects ranging from the windswept wonderland of an empty New York City to a rapidly changing Tibetan hillside village to a dreamy shot of Foster + Partners' Swiss Re Headquarters ( a.k.a. "The Gherkin") this year's entries constitute a "cornucopia of styles and stories," says CIOB spokesman Saul Townsend. Selected by a panel of judges that included professional photographers, editors and communicators, the fifteen finalists will now compete for the grand prize, which will be selected by reader vote on CIOB's Art of Building website. Check out the photographs below and remember to vote before January 23, 2017. The winner will be announced on February 7. "Overlook". Image © Jonathan Walland Photograph title: Overlook Photographer: Jonathan Walland Photo was taken: London, UK Camera used: Nikon D7100 Photographer's description: This is part of a series of photographs demonstrating how the absence of light can be used to divert the attention of the observer towards what the photographer intended to highlight. "Coast Minimalism". Image © Senad Tahmaz Photograph title: Coast minimalism Photographer: Senad Tahmaz Photo was taken: Supetar, Croatia Camera used: Nikon D90 Photographer's description: Unusual, minimalistic view of the architecture detail. "Control". Image © Roman Robroek Photograph title: Control Photographer: Roman Robroek Photo was taken: Hungary Camera used: Canon EOS650D Description: This beautiful control room is one of a kind and built in a beautiful art-deco style. "Flatiron Building in a Snowstorm". Image © Michelle Palazzo Photograph title: Flatiron building in a snowstorm Photographer: Michelle Palazzo Photo was taken: New York, USA Camera used: Ricoh GR Description: New York City's iconic Flatiron building emerges from the blizzard like the bow of a giant ship plowing through the wind and the snow. Taken during the historic coastal storm "Jonas" on January 23rd, 2016 the photograph went viral during the aftermath of the storm. "The Turbo Dandelion Wind Farm". Image © Derek Snee Photograph title: The Turbo Dandelion Wind Farm Photographer: Derek Snee Photo was taken: Northumberland, UK Camera used: Fuji X-T1 Description: Imagine if we could use plants to harvest wind! Well now we can. Ladies and gentlemen, girls and boys, I give you 'The Turbo Dandelion Wind Farm'! "People's Friendship Arch". Image © Oleksandr Nesterovskyi Photograph title: People's Friendship Arch Photographer: Oleksandr Nesterovskyi Photo was taken: Kiev, Ukraine Camera used: Canon 450D Description: The photo shows the combination of nature and architecture, the harmony in combination of titanium arch height of 30 meters and a tree. "He and the Bridge". Image © Oleg Dashkov Photograph title: He and the bridge Photographer: Oleg Dashkov Photo was taken: Riga, Latvia Camera used: Canon EOS 60D Description: 'Riga's Tower Counter' keeps his records during any season rain or shine, wet or fine. Is he distracted by the beauty of the cable bridge I wonder? "Changing Landscape". Image © Barbara Rossi Photograph title: Changing Landscape 1 Photographer: Barbara Rossi Photo was taken: Sokhna, Egypt Camera used: Nikon D810 Description: I took this photo in deconstruction, it shows transformation, action and beauty. "Sancaklar Mosque 2". Image © Bulent Suberk Photograph title: Sancaklar Mosque 2 Photographer: Bulent Suberk Photo was taken: Istanbul, Turkey Camera used: Nikon D700 Description: Modern architecture as a non-traditional mosque. "Purelife". Image © Shibasish Saha Photograph title: Purelife Photographer: Shibasish Saha Photo was taken: West Bengal, India Camera used: Nikon D3300 Description: In this frame men as well as women are working very hard to feed their individual families. Women forget their pain and work alongside the men in a brick field. "The Hive". Image © Marco Grassi Photograph title: The Hive Photographer: Marco Grassi Photo was taken: Larung Gar, Tibet Camera used: Canon 5D Mark III Description: Since June 2016, everything has changed in Larung Gar, but almost nobody knows about that. What before was the largest Buddhist settlement in the world and a remote place out of the modern society where nuns and monks led a passive life, is now being demolished by Chinese authorities. "The Gherkin". Image © James Tarry Photograph title: The Gherkin Photographer: James Tarry Photo was taken: London, UK Camera used: Sinar 4X5 Description: This series is about looking past imperfections and 'incorrect' architectural photography techniques. They are created using a 4x5 technical film camera by forcing the perspective and focus. The expired Kodak Ektachrome is then developed in the 'wrong' chemicals to produce these big slabs of often other worldly colour. These are flawed and hopefully challenging, just like some of the buildings themselves. "Peacock". Image © Gina Soden Photograph title: Peacock Photographer: Gina Soden Photo was taken: Italy Camera used: Nikon D800 Description: A fine example of Moorish architecture - but in a castle in Italy. These rooms were all hand designed and painted by one man who had a vision to build this beautiful castle and open it as a hotel. "Elevation". Image © Naf Selmani Photograph title: Elevation Photographer: Naf Selmani Photo was taken: London, UK Camera used: Fujifilm X-T10 Description: The Hive - Kew Gardens' spectacular new bee-inspired sculpture seen from below as one of the visitor lays on the top glass floor to pose for pictures. This multi-sensory experience integrates art, science and landscape architecture. "Jeporeka". Image © Enrique Gimenez-Velilla Photograph title: Jeporeka Photographer: Enrique Gimenez-Velilla Photo was taken: Asunción, Paraguay Camera used: Nikon D5100 Description: This photo seeks to pay homage to all the clever unknown workers that still build and maintain built infrastructure in the developing world. "Jeporeka" is a Paraguayan Guarani word that roughly translates into "make do". For more details on the competition and to vote, visit www.artofbuilding.org. This posting includes an audio/video/photo media file: Download Now

The Dream Factory / Studio Roosegaarde Posted: 19 Dec 2016 05:00 AM PST © Willem de Kam Architects: Studio Roosegaarde Location: Rotterdam, The Netherlands Architect In Charge: Daan Roosegaarde Area: 1000.0 m2 Project Year: 2016 Photographs: Willem de Kam © Willem de Kam Dating from 1937, the derelict building, a former glass factory located near the Rotterdam harbour and 10 minutes from the Erasmusbrug, was about to be demolished until it caught Roosegaarde's eye.  © Willem de Kam Floor Plan © Willem de Kam The building of more than 1000m2 was renovated over the last year by Roosegaarde and his team of designers and engineers. Inspired by Roosegaarde's fascination for the Dutch skies, its new design opens up the space to Dutch light to fully soak into its magic, transforming it into the dream lab of the 21st century. The main artery of the building is used for the building of prototypes and visible from the above offices and balconies at any time of the day. © Willem de Kam The building's main centre stage is malleable to its dream functions such as open lab sessions and educational activities. Special features include the dream library which houses an extended collection of antique and new books. Wall divisions in the space are made of glass enabling new ideas to be drawn on the walls directly as an open sketchbook inviting team members to contribute and develop concepts together. A unique laboratory is housed on ground floor, in the former garage, to cultivate live bio organisms in the dark. The furniture such as the team desks are directly inspired by large boats and float as islands into space. From the top floor the studio offices offer stunning views over the harbour and river as windows to the world. © Willem de Kam This posting includes an audio/video/photo media file: Download Now

Plans Revealed to Transform Pier 26 into New Park along the Hudson River in New York Posted: 19 Dec 2016 04:15 AM PST Rendering by OLIN Studio, via Tribeca Citizen. ImagePier 26 The Hudson River Park Trust has revealed plans to transform the 800-foot-long Pier 26, located on the Hudson River in the New York neighborhood of TriBeCa. Currently vacant, the pier is set to receive a new park designed by landscape architects OLIN Studio and a maritime education center designed by Rafael Viñoly Architects. As shown in renderings published by Tribeca Citizen, the new park will include multiple landscaped areas interspersed with more actively programmed areas featuring playgrounds, forum seating and what appears to be a giant hammock for relaxing over the water. Not shown in the renderings is Viñoly's design for the estuarium at the park, which will likely be located at the beginning on the pier along the West side highway. The total project is estimated to cost $30 million. Check out plans and additional renderings for the project at Tribeca Citizen, here. News via Tribeca Citizen. H/T NY Yimby. This posting includes an audio/video/photo media file: Download Now

El Chalet / ISA Posted: 19 Dec 2016 03:00 AM PST © Sam Oberter Architects: ISA Location: Philadelphia, PA, United States Architect In Charge: Brian Phillips, AIA, LEED AP Area: 6500.0 ft2 Project Year: 2016 Photographs: Sam Oberter Client: Crawford Group © Sam Oberter As marginalized urban areas transition into desirable neighborhoods, seemingly problematic contextual elements like adjacent vacant land and elevated railroads can be treated as productive design constraints. Historically a divider, the elevated train line running along Front Street in Philadelphia's Kensington neighborhood is becoming an attractor for new retail and nightlife. © Sam Oberter This 6-unit apartment building shifts program to the long edge of a narrow site along the busy Frankford-Market elevated Blue Line in East Kensington, creating an interior façade facing an adjacent vacant parcel. A ground floor commercial space faces Front Street, activating the urban edge under the El. Section As a reaction to the owner's concern about living directly adjacent to the elevated train, the project emphasized an intimacy with the railroad that looked to turn a liability into a surprisingly novel asset. © Sam Oberter Floor Plans © Sam Oberter With a roofline that connects the dots of a quirky zoning envelope, the elevation juxtaposes housing above with a storefront tucked underneath the elevated train line. The north-facing blank property line facade creates an opportunity for art and signage oriented toward viewers riding south on the train. Detail This posting includes an audio/video/photo media file: Download Now

16 Materials Every Architect Needs to Know (And Where to Learn About Them) Posted: 19 Dec 2016 01:30 AM PST A building's materiality is what our bodies make direct contact with; the cold metal handle, the warm wooden wall, and the hard glass window would all create an entirely different atmosphere if they were, say, a hard glass handle, a cold metal wall and a warm wooden window (which with KTH's new translucent wood, is not as absurd as it might sound). Materiality is of just as much importance as form, function and location—or rather, inseparable from all three. Here we've compiled a selection of 16 materials that should be part of the design vocabulary of all architects, ranging from the very familiar (such as concrete and steel) to materials which may be unknown for some of our readers, as well as links to comprehensive resources to learn more about many of them. © Kyoungtae Kim 1. Concrete Concrete is the most widely used building material in the world, making it a good starting material to get to know. However it also has significant environmental impacts, including a carbon footprint of up to 5% of worldwide emissions. To get to know all about designing with concrete, the Concrete Center has a collection of useful reports, many of which are free with registration. © Peter Larsson/KTH 2. Wood One of the oldest, most traditional building materials around the world is of course timber. The material is beginning to take on new forms thanks to engineered wood products, and with high-rise buildings and even translucent properties, this diverse material is being taken to new heights. reThink Wood has a great collection of resources to learn about, and help architects design with, wood. © David de Jong 3. Steel The city skylines as we know them exploded out of our discovery of steel, commonly used for reinforcement but serving as a beautiful skin in several examples. The wiki SteelConstruction.info offers everything you could possibly need to know about designing with steel. © Terreform ONE 4. Plastic Although this may seem like a cheap, unsustainable material to some, one should not be so quick to judge the possibilities that plastic holds. We produce so much of it; why not recycle it in the form of architecture or bioplastics? What about the whole new world that comes with 3D printing? The American Chemistry Council has a great overview of plastics as a material, as well as a rundown of their major uses in architecture, with links to further resources for each. © Agnese Sanvito 5. Stone Another material used over generations in certain geographical locations around the world, stone has a wide diversity of textures, colours and strengths. Despite its heavy, solid materiality, one can still work with it to achieve diverse forms. The Building Stone Institute has a variety of resources including fact sheets and specification sheets for many of the most common types of stone used in construction. Courtesy of Orkidstudio 6. Textiles Textiles have been explored most commonly using tensile structures, however there's a whole range of opportunities using this material: load-bearing chairs, inflatable spaces, fabric casting and wooden fabrics amongst others. Fabric Architecture Magazine has a collection of technical articles for architects, while their resource guide provides a comprehensive overview of the products on the market in this category. © Maxin Schulz 7. Glass Our most used material to achieve transparency and light is without a doubt glass, one of the most commonly used façade elements in contemporary architecture. Some are taking it a step further, attempting to extend its properties to create "intelligent" responsive glass. The PPG Glass Education Center is a great place to learn more. Courtesy of ADAPt 8. Brick Despite its rigid, rectangular shape made to fit in your hand, brick architecture has been shown to create beautiful structures with the right craftsmanship. Innovative thinkers are also finding new ways to incorporate active sustainability into the small building elements. The Brick Development Association has a collection of resources for learning more about brick. via DuPont.com 9. Kevlar A material stronger than metal body armor, with awesome tensile strength, Kevlar is certainly an asset when building large structures. With a less rigid composition than steel however, it could reform the way we think of large load-bearing structures. As a still-relatively-new material, there are few comprehensive information sources on Kevlar's architectural applications, but this article and this snippet of the book Material Architecture by John Fernandez are good places to start. Courtesy of PT Bambu 10. Bamboo Bamboo usage is generally dictated by the geographical location of the architectural project. In locations where bamboo makes sense, it is an incredibly flexible, strong, sustainable material that can be useful in many ways. © Monica Nouwens 11. Carbon Fiber Reflecting everything about our new material endeavors is carbon fiber: "five times stronger than steel, twice as stiff, weighing significantly less." The composition of carbon fibre makes it flexible to work with, allowing it to take shapes from surfaces to rods, depending on your requirements. via Inhabitat 12. Photovoltaic cells With all the high-rises soaring high above the earth, it's a wonder photovoltaic facades haven't become a norm. Due to the evolution of photovoltaic technology, cells may no longer have to be locked in place on the roof. The International Energy Agency's design handbook for photovoltaics in buildings is available for free online. © Mahsa Masoudi 13. Earth Earth is among the oldest building materials we can think of due to its almost universal accessibility and relative ease of use at small scales. It's capable of being compressed into modules, as well as creating freeform surfaces, all of which can eventually return to the earth with ease. via Al Jazeera English 14. Waste We produce a huge amount of waste covering a huge range of materials, but getting to know your waste is an excellent idea for future architects. Whether it's converting cigarette butts into building material or plastic bottles to earthquake resistant walls, recycling is something to be admired. Courtesy of Karli Luik 15. Straw Creating a passive thermal environment, shielding from rain and blending into similar natural surroundings are just a few things that straw is good at. It's no wonder thatched roofs were so popular in the past. Courtesy of The Mediated Matter Group 16. Organic materials With the massive loss of habitats happening around the world, getting to know organic structures created by animals is something that's best to do sooner rather than later. Not only can we learn from their use of materials, it also opens up opportunities for us to coexist through incorporating their organic materials into our architecture. As with all materials, accessibility and cost plays a huge role. There are sure to be materials not on the list that would be the obvious option in certain parts of the world, so be sure to get to know the materials around you in addition to these and you'll be sure to have a complete resource. Finally, if you're looking for a resource to specify products for a project, why not try ArchDaily's Product Catalog? This posting includes an audio/video/photo media file: Download Now

Utrecht Central Station / Benthem Crouwel Architects Posted: 19 Dec 2016 01:00 AM PST © Jannes Linders Architects: Benthem Crouwel Architects Location: Utrecht,The Netherlands Architect In Charge: Jan Benthem Area: 26030.0 m2 Project Year: 2016 Photographs: Jannes Linders , Your Captain Luchtfotografie © Jannes Linders From the architect. The largest and busiest train station in the Netherlands is officially open. Utrecht Central Station was once built for approximately 35 million passengers per year. Currently 88 million people use the station annually. This number is constantly increasing and is expected to reach one hundred million passengers in 2030. Benthem Crouwel Architects has been involved in the development of the train station since 2003. Thirteen years later, the new public transport terminal that will house train, bus and tram platforms under one undulating roof, has opened. © Jannes Linders One Integral Station Complex Over the next two decades, the number of travellers to Utrecht Central Station year will grow to about a hundred million per year. Since the previous building could not handle the increasing amounts of passengers, Utrecht Central Station has been rebuilt - three times its original size - to one new integrated station complex, which regulates the transport of train, tram and bus. The station has become an autonomous building with two new city squares on both entrances, the side of the Jaarbeurs (convention center) and the city side. Next year, under the square on the city side, the largest bicycle parking facility in the world will be finished, accommodating 12,500 bicycles. © Your Captain Luchtfotografie Undulation During the design phase Jan Benthem and Mels Crouwel had the idea to design the original flat roof of Utrecht Central Station as a wave that radiates a dynamic movement and also functions as a natural way finder. Transverse to the tracks, in the longitudinal direction of the hall, the wave refers to the entrances and exits. The wave has three 'undulations': the highest above the train station, the lower ones on each side contain the tram and bus stations. The waves also represent the logical distribution of functions in the station. To receive more natural daylight in the terminal, glass skylights were designed, which also function as smoke hatches. The undulating movement is emphasized by the continuous LED lights on the ceiling. Thanks to the significant wavy shape of the steel roof - and a relative low-rise building (18 meters high) - the station is clearly recognizable among the neighbouring buildings and offices. © Jannes Linders Model © Jannes Linders Lively Station Located on one side of the station, there is a station promenade, a public street, which crosses the railroad tracks. Now a passer-by is able to move from west to east without having to use a 'chip card'. Restaurants, shops, and a possible market gives this promenade the atmosphere of a real city street. Through large glass walls, serving as curtains hanging from the roof of 235 by 85 meters, the stations offers all kinds of stunning lookouts, to trains, tracks and expansive views of the city. The interior has a reserved allure and modest charm: it is the people, signage, vehicles and other typical additions that make the station alive and vibrant, and give colour and ambiance. © Jannes Linders Cathedrals of a New Era In a very short time, Dutch rail travel and train station surroundings have had an intensive makeover. Six central stations - Utrecht, The Hague, Rotterdam, Arnhem, Breda and Amsterdam South - are called the New Key Projects since 1997: projects where not only the train station is transformed (for the arrival of the high speed line, amongst others), but also the connecting surroundings around the station. This integrated approach to station and station environment reinforces the identity and vitality of the city. These new train stations are also referred to as 'cathedrals of a new era': public transport terminals that provide travellers and city dwellers with various comforts and functionalities in the area. The past few years, one after the other station has opened, manifesting themselves as 'city buildings' in five major city centers. The station is part of the urban fabric, with logical walkways and a better connection between different city districts. Utrecht Central Station is the penultimate station that is completed of the New Key Projects; after this Amsterdam South remains. Benthem Crouwel Architects is the architect of three out of the six New Key Projects: Rotterdam Central Station, The Hague Central Station and now… Utrecht Central Station. Model This posting includes an audio/video/photo media file: Download Now

This Time Lapse Perfectly Captures the Days Leading Up to Your Final Review Posted: 19 Dec 2016 12:00 AM PST Pablo Pinares has created a video with which all past and current architecture students can identify: a time lapse of the final hours before a studio review. Whether your architecture school days are behind you or you still have juries to look forward to, read on to revel in your school experiences with us. 1 - Finishing your model as the sun comes up Not pictured: X-Acto knife injuries, running out of coffee, fires in the laser cutter. via GIPHY 2 - Transporting your model to the studio space The upside of camping out in the studio all night is an easy commute. via GIPHY 3 - Pinning up your work on the wall and preparing your presentation Hope you're assigned to the soft walls. via GIPHY 4 - The review After an intense semester of back and forth with your tutor, ideally, you'll get some constructive feedback from a fresh pair of eyes. And if you're like most nervous public speakers, this will be the most awake you've felt in days. via GIPHY 5 - Recovery You made it! Take a shower, pop some bottles, tell someone you love them. You deserve it. via GIPHY Producer: Pablo Pinares  Protagonist: Andrés Chavez  Model: Josseline Troncoso  Collaborators: Eduardo Lagos, René Guarache, Rubén Vélez Title of the Project: Centro intercultural Mapuche  Tudor: Jaime García Molina  This posting includes an audio/video/photo media file: Download Now

99% Invisible Explores the Strange Phenomenon of Rotary Jails Posted: 18 Dec 2016 10:00 PM PST © Flickr cc use Martin Konopacki 99% Invisible has recently published a review of rotary jails, a strange prison architecture system in which cell blocks turn to align with the position of a single door, in the attempt to create better security. Used around the early 20th century, this odd, carousel-like technology spread across the United States in mainly Midwestern towns. Learn more about the phenomenon of rotating jails, at the 99% Invisible article, here. News via 99% Invisible.  This posting includes an audio/video/photo media file: Download Now

The Zig Zag Building / Lynch Architects Posted: 18 Dec 2016 09:00 PM PST © Hufton and Crow Architects: Lynch Architects Location: 70 Victoria St, Westminster, London SW1E 6SQ, UK Design Team: Patrick Lynch, Claudia Lynch Area: 3500.0 m2 Project Year: 2016 Photographs: Hufton and Crow, David Grandorge, Tim Soar, Sue Barr, Rory Allen, Tom Lee , Tom Roreby, Nikita Shergil Structural Engineers: Pell Frischman Service Engineers: Grontmij Landscape Architects: Vogt Artist: Timorous Beasties Client: Land Securities © Tim Soar From the architect. The Zig Zag Building replaces a 1950s office block on Victoria Street in central London, close to The Houses of Parliament and Buckingham Palace, with exemplary new office space. Colonnades at various scales indicate and define the entrances to the various different types of accommodation housed within the broader scope of our project e.g. offices, housing, restaurants, shops, bars, etc. Situated between a cathedral and a town hall, the design seeks to mediate between these two in terms of size and scale and to establish a credible and pleasurable urban spatial order connecting together the grain of this part of Westminster. Sketch The relationships between the inside and outside of the building are articulated as a series of thresholds in carefully calibrated, shaded, open-able, yet mostly transparent façades that nonetheless appear solid from afar. Layers of shading not only add scale to the elevations, but also vary across the different orientations, offering occupants the possibility of the enjoyment of fresh air and natural light - along with the virtuous preservation of natural resources. © David Grandorge On the upper levels, above the retail accommodation at ground and first floor, the office facade has six principal components. The first is the internal structural columns, which are circular with minimal diameter. © David Grandorge This avoids an awkward relationship with the second element, the curtain wall, which has C31 anodized pale bronze-coloured stable-door style openable panels set up on a 1.5m grid and 3m panel. At least 2.5% of an office floor area must be openable façade to enable the fire brigade to purge smoke after a fire, and around the same proportion needs to be insulated. We have combined these two parameters to create a shutter that enables cross ventilation and which forms a Juliette balcony when fully opened. The façade works in tandem with the energy strategy for the building generally. Skecth © Rory Allen Detail Sketch Capillary cooling in the concrete floor slab, combined with chilled beams, creates the possibility of omitting a conventional suspended ceiling, thus creating a floor-to-ceiling height of over 3.3m. In front of the curtain wall, and separated by a 50mm gap, are the third element, 3.7m x 65mm thick anodized fins of varying depths, that shade the façade from solar gain from the east and west.  At the lowest level, the fins are set at 1.5m centres and are 600mm deep, gradually diminishing in width and depth on successive floors i.e. as they get closer together they cast more shadow, and thus their depth reduces accordingly to conserve materials. This has the effect of making the building appear taller and more statuesque. © Tim Soar The fourth element is the horizontal cill that shades the facade from the south midday summer sun and which remains a constant depth throughout. The fifth element is a hanging translucent glass 'doily' protects the façade from solar gain and glare arising from spring and autumn midday sun, which is not quite at the zenith at noon but nonetheless often intense. The doily is made up of laminated glass with a printed inter-layer depicting a variety of images of onyx. Finally, the "zigzag" geometry of the building exaggerates the play of light and shadow across the façade, and this variety is complimented by patterns made as occupants open different parts of it on warm days. Sketch The translucent doilies register another layer of inhabitation and respond to seasonal and diurnal time, as, in the winter months, they begin to glow towards the end of the working day. Terraces are planted with trees and flowers, emphasizing still further the presence of the natural world within the working lives of the inhabitants. Concern for the well-being of inhabitants is balanced by the care taken in the design of the landscape by Vogt, and is reflected in the art works of Rut Blees-Luxemburg and Timorous Beasties. The Zig Zag Building was pre-let to Deutsche Bank and to Jupiter Asset Management. The project won the Best Office Building award at The World Architecture Festival, held in Berlin in November 2016. © David Grandorge This posting includes an audio/video/photo media file: Download Now

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