Arch Daily |
- Amstelloft / WE architecten
- AD Classics: Roman Pantheon / Emperor Hadrian
- Sky Central / AL_A + PLP Architecture + HASSELL
- Elbphilharmonie Hamburg / Herzog & de Meuron
- Restaurant Brix 0.1 / Markus Tauber Architectura
- BAD Architects to Design Mixed-Use Project in Lebanon
- New Documentary to Dive into the Life and Works of Eero Saarinen
- House Sch / Dietrich | Untertrifaller Architects
- Hello Wood Creates Reusable Christmas Tree From Lightboxes in Budapest
- 50Hertz Headquarter Berlin / LOVE architecture and urbanism
- A Selection of Name-Based Architecture Memes
- Casa TR / Antonio Jurado
| Posted: 25 Dec 2016 09:00 PM PST  © Filip Dujardin
 © Filip Dujardin From the architect. The collective DIY-housing project Amstelloft consists of spacious loft-apartments. Inspired by dwellings in old schools, churches and warehouses: flexible space with double height which can be turned into living spaces ranging from open lofts to four-bedroom-apartments. The future inhabitants were intensely involved in the realization benefiting the pronounced posibilities and character of the design.  © Filip Dujardin Living Like in Old Schools, Churches and Warehouses  © Filip Dujardin Initiative, Design and Mentoring of Realization  Section Character-Filled Structure  © Filip Dujardin Fully Engineered  © Filip Dujardin Embraced by the Inhabitants  © Filip Dujardin Product Description. The materials enhance the concept of 'Living like in old schools, churches and warehouses'. The buildings' structure is meant robust en tough and the chosen materials age well. The number of materials is limited to create a modest and timeless facade. The arched facade openings are strenghtened with the brick detailling.  © Filip Dujardin  This posting includes an audio/video/photo media file: Download Now |
| AD Classics: Roman Pantheon / Emperor Hadrian Posted: 25 Dec 2016 08:00 PM PST  Courtesy of Flickr user Phil Whitehouse (licensed under CC BY 2.0) Locked within Rome's labyrinthine maze of narrow streets stands one of the most renowned buildings in the history of architecture. Built at the height of the Roman Empire's power and wealth, the Roman Pantheon has been both lauded and studied for both the immensity of its dome and its celestial geometry for over two millennia. During this time it has been the subject of countless imitations and references as the enduring architectural legacy of one of the world's most influential epochs.  This plan drawing by Georg Dehio and Gustav von Bezold reveals the unexpected thickness of the rotunda walls. ImageCourtesy of Wikimedia user Fb78 under Public Domain The Pantheon, which now stands on the Piazza della Rotonda, is in fact the third such structure to occupy the site. The original Pantheon was commissioned by Marcus Agrippa, the son-in-law of Emperor Caesar Augustus, and was dedicated in 27BCE. After a fire destroyed much of Agrippa's original construction in 80AD, Emperor Domitian carried out a reconstruction effort (the exact extent of which remains unknown). However, when a lightning strike burned the Pantheon down yet again in 110, the structure which Emperor Hadrian put in its place was of an entirely new design.[1]  Under Hadrian's reign in the early 2nd Century CE, the Roman Empire covered more territory than it ever would again. ImageCourtesy of Wikimedia user Andrein under CC BY-SA 3.0 The reign of Hadrian arguably represented the greatest 'Golden Age' of the Roman Empire. Stretching from the Atlantic Ocean in the west to the landlocked Caspian Sea in the east, the Empire's territory encompassed southern and western Europe, northern Africa, and a sizable swath of western Asia – the furthest that its borders would ever reach. It was also the most economically prosperous period in Roman history, with unprecedented regional stability allowing trade to pass freely through the various provinces. The many cities of the Empire underwent expansive building programs, bringing public baths, forums, theaters, and circuses to citizens on three continents. In such an era of peace and prosperity, when all of Rome seemed to be under harmonious control, it was only fitting that a monument be built in the capital to represent this ideal state of affairs.[2]  The coffers in the Pantheon's dome, aside from their aesthetic qualities, serve to reduce the weight of the dome on the support structure below. ImageCourtesy of Flickr user Michael Vadon under CC BY 2.0 Formally, the Pantheon is striking in its simplicity. It is—put simply—a large drum capped by a dome, with its north-facing entrance marked by a portico. Inside the drum is a single cavernous space, with natural light from a 9 meter-wide (30 foot) oculus spilling down onto alternating triangular and rounded altars that mark the perimeter of the room. The floor and walls of the interior are surfaced with fine stone sourced from across the Roman Empire, including granite and various colored marbles; the coffered ceiling is exposed concrete.[3] This dome was the largest in the world by a significant margin, a superlative it would retain until the construction of Brunelleschi's engineering marvel at Santa Maria del Fiore in Florence in 1436, thirteen centuries later.[4]  Courtesy of Flickr user Michael Johnson (licensed under CC BY 2.0) Enabling this seemingly simplistic geometry was an elaborate structural system, the culmination of decades of progress in Roman engineering technology. The 6 meter (20 foot) thick walls of the rotunda, while appearing monolithic from the outside, conceal a carefully-planned network of voids and arches that act as eight piers supporting the weight of the dome above. The dome itself was made possible by the Roman material innovation of concrete. Concrete vaults were used to great effect in a number of structures during the reign of Hadrian's predecessor (and adoptive father) Trajan, laying the theoretical framework for the construction of the Pantheon's dome. Here, unlike in the walls, the structural solution is plainly visible: the five rows of coffers, while aesthetically appealing, reduce the deadweight of the dome between its structural members, limiting the stress placed on the arches hidden within the walls of the rotunda.[5,6]  The interior of the Pantheon contains a perfectly spherical volume – a cosmic symbol which triumphantly asserted the authority and might of the Roman Empire. ImageDrawing by Francesco Piraneni. Via Wikimedia user Bkmd under Public Domain The carefully premeditated planning of the rotunda stands in ironic contrast to the relatively disjointed portico. Rather than joining directly to the rotunda, the pediment connects to a rectangular transitional block, which features the outline of a pediment at a higher elevation than that which crowns the portico. This apparent misalignment led several architects to hypothesize over the centuries that the portico and rotunda were built at separate times by separate emperors, with one having been an awkwardly-proportioned addition to the other. Examination of the foundations and stamps on the bricks used in the structure, however, indicate the entire Pantheon was built as one cohesive project.[7]  This 1836 painting by Jakob Alt depicts the Pantheon with its Renaissance-era bell towers, additions which were widely scorned until their eventual removal. ImageCourtesy of Wikimedia user GianniG46 under public domain The mismatch of the portico and rotunda is evidently the result of logistical issues in acquiring stone at the size specified by the Pantheon's builders. A pediment at the height implied by the outline on the transitional block would require taller, thicker columns than those used in the temple as it is built; however, unlike those smaller columns, the hypothetical original design would conform neatly to the established proportions used in religious Roman architecture. The cornice line of the roof would also connect to the middle cornice line encircling the rotunda, whereas the existing roof does not seem to relate to any part of the structure. Despite the sheer financial power of Hadrian's empire, however, adequate material could not be quarried for both the Pantheon and the simultaneously-constructed Trajan's Temple, and the former was subjected to an ungainly compromise in order to expedite construction of the latter.[8]  Due to the mid-construction changes to the portico, the cornice line of the pediment does not match with that of the rotunda behind it. ImageCourtesy of Flickr user Michael Johnson under CC BY 2.0 The awkward proportions of the portico could not diminish the impact—or the meaning—of the vast space enclosed within the rotunda. The diameter of the rotunda's interior is almost exactly the same as its height: 43.4 meters (142.4 feet). Combined with the hemispherical volume expressed within the dome, the space implies a perfect sphere.[9] The cosmic implications of this geometry are clear: the sphere was an analogy for the heavens, all contained within the Pantheon's concrete walls. At the highest point of the heavens (in this case, the oculus) shone the light of the sun, casting its beams on the various statues of planetary deities that occupied the niches in the walls as the day wore on. While the gods and heavens were honored in this symbolic design, however, it was the Roman Empire itself which was truly glorified. The cosmos embodied and enclosed by the Pantheon represented the Empire, its disparate lands and peoples held together by the celestial authority and perfection of Rome. Its name may imply religious consecration, but the Pantheon was truly a testament to the might and glory of a worldly government.[10]  Courtesy of Michael Vadon (licensed under CC BY 2.0) As a symbol of the Empire, the Pantheon was subjected to a series of indignities as Rome began its slow decline over the following centuries. In the early 7th Century, the Emperor Constantius II of the Eastern Roman Empire visited Rome and officially gave the Pantheon to Pope Boniface IV for use as a church; before doing so, however, he took the gilded bronze tiles which once covered the roof of the dome for his own use. Now known as the Church of St. Mary of the Martyrs, the Pantheon had its golden roof replaced by one of lead. Two centuries later, Pope Urban VIII ordered the removal of several large bronze beams from the portico for use in Bernini's altar canopy at Saint Peter's Basilica, as well as for cannons at the Castel Sant'Angelo (the fortified Roman residence of the Pope). As a consolation gesture, Urban commissioned a pair of bell towers to be added above the portico; these towers were generally considered ugly and out of place, however, and were removed in the 19th Century.[11]  From this angled perspective, careful observers can note the outline at the originally intended height of the pediment on the transitional block. ImageCourtesy of Flickr user Michael Vadon under CC BY 2.0 Perhaps thanks to its repurposing as a church the Pantheon is one of the best-preserved monuments of Ancient Rome. Its celebrated dome remains the largest in the world to be built from unreinforced concrete and, in spite of the addition of Christian altars and frescoes, its design remains largely the same as it did under Hadrian's rule. Its form has served as the inspiration for an entire canon of buildings since the Renaissance, among them the Panthéon in Paris, the dome of Santa Maria del Fiore, the library at the University of Virginia, and the Jefferson Memorial in Washington, D.C.[12, 13, 14] Between its architectural legacy and its own endurance, the Pantheon stands as a lasting testament to the faded glories of the Roman Empire – a monument as eternal as the city in which it stands.  Courtesy of Flickr user lysander07 (licensed under CC BY-NC-ND 2.0) References
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| Sky Central / AL_A + PLP Architecture + HASSELL Posted: 25 Dec 2016 07:00 PM PST  © Hufton + Crow
 © Hufton + Crow Sky Central was designed to challenge conventional ideas of workspace; embracing and evolving the simplicity of the industrial shed, to define a new model for the industries fast-paced and evolving future.  © Hufton + Crow The vision reflects the workings of the organisation with a campus connected by the assets that drive the Sky business forward: creativity and people. AL_A along with PLP and Hassell brought this vision to life with naturally lit, overlapping voids within deep floor plates to create high levels of visual connectivity. Sky Group CEO, Jeremy Darroch said: "Our culture and our people are fundamental to Sky's sustained success. Our people want to do their best and be their best, and we want to support them in doing so, creating an inclusive and creative workplace that facilitates the flow of brilliant ideas and creativity."  © Hufton + Crow  Floor Plan Second level  © Hufton + Crow Open and flexible spaces are designed in clusters of neighbourhoods to accommodate a new type of creative industry, where the traditional distinctions between creative, technical, production and corporate have been broken down. These have been replaced with an interwoven, fluid workspace that can be utilized by all of Sky Central's different expertise and needs. Ho-Yin Ng, Director at AL_A said:' "Sky is proud of its beginnings on an industrial business park on the fringes of central London. AL_A worked with Sky to re-imagine a simple 'shed' typology as a means of bringing the broadcaster's activities and people together under one roof in a series of modern and people-centric workplaces on its campus in Osterley."  © Hufton + Crow The architecture boasts a large triple height central atrium above the bustling 100-metre long Sky Street that runs the entire width of the ground floor. Sky Street acts as a connector for the whole building, bringing together touchdown workspaces as well as informal working elements alongside amenities ranging from restaurants and cafes to a supermarket and a 200-seat cinema. The whole building is a new holistic, inclusive way of working and living, as Director at AL_A, Ho-Yin Ng said it is "defining a new model for the industry's fast-paced and evolving future".  © Hufton + Crow  This posting includes an audio/video/photo media file: Download Now |
| Elbphilharmonie Hamburg / Herzog & de Meuron Posted: 25 Dec 2016 06:00 PM PST  © Iwan Baan
 © Maxim Schulz Between Hanseatic Hub and HafenCity  © Maxim Schulz Too often a new cultural centre appears to cater to the privileged few. In order to make the new Philharmonic a genuinely public attraction, it is imperative to provide not only attractive architecture but also an attractive mix of urban uses. The building complex accommodates a philharmonic hall, a chamber music hall, restaurants, bars, a panorama terrace with views of Hamburg and the harbour, apartments, a hotel and parking facilities. These varied uses are combined in one building as they are in a city. And like a city, the two contradictory and superimposed architectures of the Kaispeicher and the Philharmonic ensure exciting, varied spatial sequences: on the one hand, the original and archaic feel of the Kaispeicher marked by its relationship to the harbour; on the other, the sumptuous, elegant world of the Philharmonic. In between, there is an expansive topography of public and private spaces, all differing in character and scale: the large terrace of the Kaispeicher, extending like a new public plaza, responds to the inwardly oriented world of the Philharmonic built above it.  © Maxim Schulz The heart of the complex is the Elbphilharmonie itself. A space has emerged that foregrounds music listeners and music makers to such an extent that, together, they actually represent the architecture. The philharmonic building typology has undergone architectural reformulation that is exceptionally radical in its unprecedented emphasis on the proximity between artist and audience – almost like a football stadium.  © Iwan Baan Urban Architecture for Lovers of Culture  © Iwan Baan  © Iwan Baan The Archaic Kaispeicher  © Iwan Baan Our interest in the warehouse lies not only in its unexploited structural potential but also in its architecture. The robust, almost aloof building provides a surprisingly ideal foundation for the new philharmonic hall. It seems to be part of the landscape and is not yet really part of the city, which has now finally pushed forward to this location. The harbour warehouses of the 19th century were designed to echo the vocabulary of the city's historical façades: their windows, foundations, gables and various decorative elements are all in keeping with the architectural style of the time. Seen from the River Elbe, they were meant to blend in with the city's skyline despite the fact that they were uninhabited storehouses that neither required nor invited the presence of light, air and sun.  © Iwan Baan But not the Kaispeicher A: it is a heavy, massive brick building like many other warehouses in the Hamburg harbour, but its archaic façades are abstract and aloof. The building's regular grid of holes measuring 50 x 75 cm cannot be called windows; they are more structure than opening.  © Iwan Baan The New Glass Building  © Maxim Schulz The glass façade, consisting in part of curved panels, some of them carved open, transforms the new building, perched on top of the old one, into a gigantic, iridescent crystal, whose appearance keeps changing as it catches the reflections of the sky, the water and the city.  © Iwan Baan The bottom of the superstructure also has an expressive dynamic. Along its edges, the sky can be seen from the Plaza through vault-shaped openings, creating spectacular, theatrical views of both the River Elbe and downtown Hamburg. Further inside, deep vertical openings provide ever-changing visual relations between the Plaza and the foyers on different levels.  © Iwan Baan Entrance and Plaza  © Iwan Baan  © Iwan Baan The Elbphilharmonie  © Maxim Schulz  This posting includes an audio/video/photo media file: Download Now |
| Restaurant Brix 0.1 / Markus Tauber Architectura Posted: 25 Dec 2016 12:00 PM PST  © Oskar Da Riz
 © Oskar Da Riz From the architect. A sculptural building in Bressanone / Italy is the new landmark in the Lido Park and is the home for the restaurant & bar Brix 0.1 The new restaurant Brix 0.1, located in the Lido Park in Bressanone / Italy, finally brings an improvement to the green area in the middle of the city.  © Oskar Da Riz Like a landmark the building fits inside the natural environment. A simple, but plastically shaped building opens consciously like a funnel to the pond and framed so visually beneficial the shore as well as 2 forward, protected trumpet trees.  © Oskar Da Riz The design is characterized by a sculptural building envelope which, like a canopy of roofs, protects the new restaurant area and widens through its wide glass façade visually towards the pond. The building deliberately moves closer to the shore of the pond. Under its cantilevered roof, a protected area is created, which is complemented by a spacious terrace overhanging the pond and thus visually links the restaurant with the water. The "canopy roof and wool " in interaction with the sail over the terrace creates a unique atmosphere in the park.  © Oskar Da Riz Spacious glazed windows allow views and views into the new restaurant and link the exterior and interior, making the visit to the park an experience. The skin of volume is formed by corten steel´s leaves that makes an elegant coating for the restaurant below.  Ground Floor Inside a front-cooking kitchen finds a dialogue with the tables of the clients showing the preparation of her prestigious food. In the night the construction becomes a lantern and the water, almost by magic, turns into a mirror for the structure.  © Oskar Da Riz Product Description. The Corten steel has been the material used for the cover following the concept-idea to integrate the surrounding nature with the pavillon. So corten steel sheets were cut in leaves´ shape like a leaves roof that it forms the skin of the construction.  This posting includes an audio/video/photo media file: Download Now |
| BAD Architects to Design Mixed-Use Project in Lebanon Posted: 25 Dec 2016 08:00 AM PST  Courtesy of BAD Architects BAD Architects, or Built by Associative Data, showcase their acclaimed data analysis with K1299, a new mixed-use project in Lebanon. The site was addressed through various different lenses: traffic noise, view perspectives, solar radiation, and market potential.
 Courtesy of BAD Architects To deal with traffic noise, the architects have proposed a "stepped volume strategy," which helps dampen the noise. In optimizing the terrain, the design allows for a garden connection which serves as a secondary entrance to the offices. Shading devices in addition to an open floor plan enhances the workspace for the building's inhabitants. Lastly, the layouts include terraces and stunning views, which will amplify the building presentation.  Courtesy of BAD Architects  Courtesy of BAD Architects News Via: BAD  This posting includes an audio/video/photo media file: Download Now |
| New Documentary to Dive into the Life and Works of Eero Saarinen Posted: 25 Dec 2016 06:00 AM PST  © <a href='https://www.flickr.com/photos/jeffnps/5263761913'>Flickr user jeffnps</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Finnish-American architect Eero Saarinen will be the focus of the Season 30 Finale of American Masters, the PBS documentary program that highlights the preeminent cultural icons of United States' history. Co-produced by Saarinen's son, Eric, the documentary will dig into the life and work of the visionary architect, covering seminal projects including St. Louis' iconic Gateway Arch, the General Motors Technical Center, New York's TWA Flight Center at John F. Kennedy International Airport, Yale University's Ingalls Rink and Morse and Ezra Stiles Colleges, and Virginia's Dulles Airport. "Closure was something I didn't have with my dad. But I forgive him for his genius," said Eric Saarinen, ASC. "He figured out a way to be important across time, so even though he died young, he is still alive." The documentary will feature rare archival interviews with Eero and his second wife, New York Times art critic Aline Saarinen, as well as new interviews with architects Kevin Roche, César Pelli, Rafael Viñoly, and Robert A. M. Stern, architecture critic Paul Goldberger, curator Donald Albrecht (Eero Saarinen: Shaping the Future), author Jayne Merkel (Eero Saarinen) and Cathleen McGuigan, editor-in-chief of Architectural Record. Check out some excerpts and a trailer for the film below. Film excerpt: Eero Saarinen's mobile lounge, "passenger-to-the-plane" concept enables his revolutionary Dulles Airport design Film excerpt: Eero Saarinen explains his design of the General Motors Technical Center (Warren, Mich.), a National Historic Landmark: Film outtake: Eero Saarinen's explains his design of the MIT Chapel Film excerpt: Eero and Eliel Saarinen compete for St. Louis monument design Film trailer: The documentary will premier nationwide Tuesday, December 27 at 8 p.m. on PBS (check local listings) and will become available on DVD January 3, 2017. Learn more about the film, and find out how to watch it, here. AD Classics: TWA Flight Center / Eero Saarinen  This posting includes an audio/video/photo media file: Download Now |
| House Sch / Dietrich | Untertrifaller Architects Posted: 25 Dec 2016 05:00 AM PST  © Bruno Klomfar
 © Bruno Klomfar Built on an extremely steep piece of land with an area of only 450m², Dietrich│Untertrifaller designed this single family home to best fit the constraints of the site. While a concrete core ties the house to the hill and contains all service rooms, a more open wooden structure was chosen for the living area and bedrooms. The form of the home allows for the focal point of all the interior spaces to be the forests below.  © Bruno Klomfar  Section  © Bruno Klomfar  This posting includes an audio/video/photo media file: Download Now |
| Hello Wood Creates Reusable Christmas Tree From Lightboxes in Budapest Posted: 25 Dec 2016 04:00 AM PST  © Balazs Turos Hello Wood has continued its tradition of building socially responsive Christmas trees in European cities though its latest addition, the Tree of Arts, built in front of Budapest's largest concert hall, Müpa, also known as the Palace of Arts. Based on the idea that the spirit of Christmas should live beyond the holiday season and continue to symbolize community-building and sustainability into the New Year, the 11-meter tall tree made from lightboxes will be recycled into display units for the inside of the cultural venue in 2017. Lightboxes in the installation feature the names of performances that will be visiting Budapest in the coming year, including the New York Philharmonic Orchestra, John McLaughlin, and Cameron Carpenter.  © Balazs Turos  © Balazs Turos  © Balazs Turos In total, the tree will be lit by an 110-meter-long LED ribbon.  © Balazs Turos  © Balazs Turos The four-story-high structure occupies 20 square meters and features three entrances—including a shorter one meant for children—so that visitors can view the tree from the inside. Previous Hello Wood Christmas tree projects have been located in London, Manchester, Budapest, and Geneva, all around the ideas of charity, social awareness, community building, and sustainability.  © Balazs Turos  © Balazs Turos Lead architects: Csaba Bányai, András Huszár Hello Wood team: Péter Pozsár, Niki Lakatos, Dávid Ráday, Benjamin Szilágyi, Gergely Szőke Commissioned by: Müpa Budapest News via: Hello Wood.  This posting includes an audio/video/photo media file: Download Now |
| 50Hertz Headquarter Berlin / LOVE architecture and urbanism Posted: 25 Dec 2016 01:00 AM PST  © HG Esch
 © HG Esch From the architect. Eighteen architectural firms participated in the international non-open competition for the new 50Hertz Netzquartier in Berlin. The initial phase yielded two finalists, LOVE architecture and urbanism and the Danish firm Henning Larsen Architects, with the LOVE design ultimately prevailing. The other competitors included NO.MAD Arquitectos (Madrid), Sauerbruch Hutton (Berlin), Hadi Teherani Architects (Hamburg), Kleihues + Kleihues (Berlin), Müller Reimann (Berlin).  © HG Esch Location  © HG Esch  Site Plan  © HG Esch Building Concept  Diagram  Diagram Individual struts were removed from the even diagonal structure. The only prerequisite for this was that an easily manageable free span of approx. 8.3 m in the cantilever area could not be exceeded. This playful approach resulted in a geometrically complex interwoven exterior, a framework structure made of compression and tensile struts. The orange cores, which house the elevators, stairways, shafts, utility rooms and restrooms, draw the viewer's gaze through the exterior network deep into the depths of the building. Two of the three cores are slightly tilted. Since the Reserve Control Center (RCC) is also part of the new company headquarters, a particularly sophisticated safety concept guided the planning and implementation stages.  © HG Esch Flexible Office Landscape  © HG Esch  Floor Plan  © HG Esch Night-Time Lighting Concept  © HG Esch  This posting includes an audio/video/photo media file: Download Now |
| A Selection of Name-Based Architecture Memes Posted: 24 Dec 2016 11:00 PM PST  The world of architecture can be a serious place. Though the rest of the world holds quite a few stereotypes about architects, unfortunately none of them include us having a sense of humor—and perhaps that seriousness explains why one of the most popular memes involving architects isn't exactly favorable to the profession. Here at ArchDaily we thought we'd do just a little to correct that with some memes riffing on some of the profession's most beloved names—as our gift to the entire architectural profession. Read on to see what we've come up with, and don't forget to get involved with your own architecture funnies.        And, since we're talking about correcting architecture's meme situation, why don't we take another look at that old "classic" we mentioned earlier:   This posting includes an audio/video/photo media file: Download Now |
| Posted: 24 Dec 2016 09:00 PM PST  © Antonio Jurado
 © Antonio Jurado From the architect. The project is located in the historical center of Torrox, in Malaga (Spain), that it has a very clear homogeneity and a strong Mediterranean character, where the buildings adapt to the topography, so that the resulting streets are winding and uneven slopes between parallel streets.  © Antonio Jurado  © Antonio Jurado Faced with these initial conditions, we insert the house in the urban pattern in the most silent way, interweaving the place to the needs of the owners.  © Antonio Jurado What makes characteristic to the house is fundamentally the place where it is located. It is an extremely complex environment, the L-shaped plot and with an area of only 56 m2. The plot is arranged in a corner, giving two of its sides to public streets at different levels.  © Antonio Jurado As for the relationship with the environment, with the landscape, we propose large windows that dilute the boundaries between exterior and interior. In this way, the landscape becomes the essential element of the house. The climatic conditions of Torrox, makes the project open to the environment and dialogue with it.  © Antonio Jurado The house is an intermediate point between interior and exterior, between the landscape and the intimate, between reality and reflection. The program is divided into three packages: -Storage -Private -Common. The program dedicated to storage is located in semi-basement floor and has direct access from the stepped street.  © Antonio Jurado The program dedicated to private use (bedrooms and a bathroom) is situated on the ground floor, together with the main access to the building.  Plans The program dedicated to common use is situated on the first floor, as this floor has the best relationship with the environment, creating in this floor a single open space, where there is the triple use of kitchen-dining-living room and a toilet.  © Antonio Jurado On the second floor is a terrace, divided in two by a small space that serves as a laundry room and receives the stairs from the kitchen. The two terraces have different characters, so that one has a more private sense, covered by a pergola and the other terrace is more open, where a small barbecue is located.  © Antonio Jurado One of the key points of the home is the location of the staircase. We decided to attach it to one of the party walls, so that the floor is free. In the common use floor we opted for an open white steel staircase as the walls, so that it becomes permeable to the light and the views.  Elevations Something important in this house is its bioclimatic character, the energy saving and the adaptation to climatological conditions, projecting cross ventilation and glass with solar treatment.  © Antonio Jurado As a general project strategy, we reduce the range of colors to white and gray. This reduction applies also to the furniture, both the kitchen and the rest of the house. In this way the whole house is understood in an integral and continuous way.  This posting includes an audio/video/photo media file: Download Now |
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