Arch Daily |
- Oslo Skatehall / Dark Arkitekter
- B14 / Studio Granda
- Kannikegården / Lundgaard & Tranberg Architects
- Lee&Tee House / Block Architects
- Chadstone Shopping Centre / CallisonRTKL + The Buchan Group
- House Jodai / Kenta Eto atelier
- Blue Barn Theatre & Boxcar 10 / Min | Day
- Foster + Partners Cascading Complex Wins Competition for New Hotel in Mecca
- Pinar del Faro House / Carolina Pedroni + Delfina Riverti + Miguel Rossi
- CORE’s Undulating Tower Will Be Mississauga's Tallest Building
- Herstal City Hall / Frederic Haesevoets Architecte
- A Capsule of "Almost-Forgotten History": Surface Magazine Visits Peter Zumthor's Allmannajuvet Zinc Mine Museum
- Jardim Europa Apartment / Perkins+Will
- The Architectural Stories Behind 7 Famous Album Covers
- Lillehammer Art Museum and Lillehammer Cinema Expansion / Snøhetta
- 40 Projects Shortlisted for the 2017 EU Prize for Contemporary Architecture - Mies Van Der Rohe Award
- Henley Halebrown Releases New Images of Mixed Use School in London
| Oslo Skatehall / Dark Arkitekter Posted: 30 Jan 2017 09:00 PM PST  © Finn Ståle Felberg
 © Lars Gartå From the architect. Skateboarding was banned in Norway on 1 September 1978, with the intention of preventing serious accidents. This did not discourage the skateboarders, and the skateboarding scene grew steadily. When the ban was lifted in 1989 the interest exploded. Skateboarders went from being lawbreakers to celebrities and youth idols. In January 2017, 28 years after the ban was lifted, Oslo finally got its own custom-built venue for the today a well-established sport. Oslo Skatehall stands now as the best custom-designed skatepark, and one of the largest of its kind in northern Europe.  © Lars Gartå  Site Plan  © Finn Ståle Felberg The architectural signature of the building is conceptually rooted in the elements and movement of skateboarding, thus exposing the hall's function. The structure is dominated by two distinct and contrasting volumes, one light and one dark, which share the same architectonic language. These two structural elements form cantilevers, inclined in opposite directions to the underlying terrain. Raised in the east and west, they create dynamic diagonal lines in the landscape. Each cantilever has broad borders of golden metal sheeting, accentuating the dramatic forms and providing frames to the large, glass panels. Visual contact between interior and exterior is maintained through these glass facades, presenting a tantalizing impression of the building from a distance and allowing viewers outside to follow the action inside. The connection between interior and exterior space, coupled with good legibility in the layout, create a sense of security, clarity and order. The spacious dimensions of the hall give participants and spectators full access to the activities, which can even be observed from the café, making this an attractive vantage point.  © Finn Ståle Felberg  © Lars Gartå  © Finn Ståle Felberg The skatehall is situated in a prime location, surrounded by large outdoor recreational areas in Voldsløkka, part of Oslo's Sagene district. The main entrance faces west and leads directly into the lobby and café, which are clearly visible through the glass façade in the south-west corner of the building. The huge cantilevered elements create a natural shelter over the entrance and outdoor seating area. In the summer months, the café opens up to this outside space and invites you to sit in the sun at tables or in the concrete amphitheatre which is set into the hillside beyond. To the east of the building, a terraced skatepark connects the different levels of the terrain, linking the concrete park at the base to Voldsløkka's prime walking path at the top. From the amphitheatre and walking path, skating activities outside in the park and inside the hall can be experienced simultaneously. When the gates and doors are opened, these interior and exterior skating spaces become fully connected. This distinctive feature of the building creates unique possibilities for major events and competitions. The dramatic lines of the structure are echoed in the outside facilities, which respond to the landscape, connecting with the wider spaces of the recreational area.  © Finn Ståle Felberg  This posting includes an audio/video/photo media file: Download Now |
| Posted: 30 Jan 2017 07:00 PM PST  © Sigurgeir Sigurgeirsson
 © Sigurgeir Sigurgeirsson From the architect. B14 is a villa on the southern periphery of a mature neigbourhood. It borders a lava field and has long views to the Bláfjöll mountain ridge. Built on the site of the client's previous house the foundation pad was garnered from the crushed concrete of the former dwelling. All other materials were sorted during the demolition process and recycled.  © Sigurgeir Sigurgeirsson The site is trapezoidal in form, narrow on the north side and wide on the south. This simple geometry was the generator of the folded, fan-like roof that was to become so important for the design.  © Sigurgeir Sigurgeirsson  Floor Plan  © Sigurgeir Sigurgeirsson Within the house the smaller, intimate spaces such as bedrooms, bathrooms and laundry room, are located towards the north beneath a series of pitched roofs. The family and work spaces are in the heart of the building and along the south face, under a gently rippling roof, are the living, dining and kitchen areas with open fireplaces at each end.Parallel to these spaces is the sky lit garage and the entrance lobby cum gallery that is only white painted room in the house. Elsewhere the palette is primarily in-situ concrete, kampala timber and structural steel beams. Special surfaces are of polished black granite, calacatta, arabescato and nero marquina marble. Buried in the depth of the plan is a stair of sawn basalt illuminated by a solitary skylight. It leads down to a workshop and store.  © Sigurgeir Sigurgeirsson The house is at the end of a cul-de-sac that terminates in the smooth concrete of the entrance yard. The dominant form is the inverted roof of the carport that sails over a long copper wall concealing the garage and main entrance door. The external walls are of the same in-situ concrete as the interior with the exception of a few planes of columnar basalt masonry. The roof is a landscape of wild grass and heather and rainwater trickles in the open copper channels between the northern gables.  © Sigurgeir Sigurgeirsson All windows and door joinery are custom made of heavy section kampala. Bathrooms are shielded with horizontal copper louvers and the full height windows of the south façade are shaded by a generous canopy. Two large sliding doors join the kitchen and dining room with this protected external space and the view over the lava field.  © Sigurgeir Sigurgeirsson The former dwelling had a rich, mature, garden and this has been conserved as much as possible. Gaps in the planting were filled with relocated plants from the original garden and new species to balance the range and scale of flora. The paved areas were laid with irregular plates that were sliced from large basalt boulders. The hoggin in the gaps between the stone will encourage the growth of delicate mosses and lichens.  © Sigurgeir Sigurgeirsson Product Description. The house is primarily made of concrete and kampala timber topped with grass. Concrete is one of the few indigenous building materials in Iceland. In the past many kinds of wood were used as they washed ashore as driftwood. Traditional Icelandic houses were made of driftwood and turf.  This posting includes an audio/video/photo media file: Download Now |
| Kannikegården / Lundgaard & Tranberg Architects Posted: 30 Jan 2017 06:00 PM PST  © Anders Sune Berg
 © Anders Sune Berg From the architect. Kannikegården is a new house for Ribe parish's parochial church council, built on the square in Ribe, just across the cathedral. The building houses functions for the parochial church council and the staff at the church.  Site Plan At the same time, it has to function as a hospitable setting for public events for the town's citizens, such as talks, concerts and film screenings. The project has faced a special challenge: Ancient monuments, telling us about Danish history over the past thousand years, have been found on the building site.  © Anders Sune Berg Most visible is a listed brick ruin from the canon's monastery dating back to the 1100s. The ruin is integrated into an exhibition space designed for communicating the many cultural historic layers of the location. The building consists of a single, oblong volume with a pitched roof, supported by pillars above the preserved archaeological findings.  © Anders Sune Berg The wing of the building is located along the square with a scale and roof pitch following the neighboring buildings on the square. The archetypical shape of the wing is given a sculptural crookedness towards the south, in order to bring more light and air towards the neighbor buildings in the courtyard area.  © Anders Sune Berg Towards the south an intimate atrium is built, demarcated by a wall framing the street areas along with Sønderportsgade and Rykind. The upper part of the building is covered with specially developed façade tiles in reddish brown shades comparable to the city's and the region's characteristic, brick houses - but as a more contemporary interpretation due to the larger size of the tiles.  Ground Floor Plan The bottom section appears with glass facades, at the same time protecting the ruin and exposing the unique findings.  © Anders Sune Berg Product Description. The upper volume is covered with specially developed façade tiles in reddish brown shades comparable to the city's and the region's characteristic, brick houses - but as a more contemporary interpretation due to the hovering tectonics of the building. The shingles are hung in an overlapping fashion, like fish scales, and frame the windows of the interior spaces.  © Anders Sune Berg  This posting includes an audio/video/photo media file: Download Now |
| Lee&Tee House / Block Architects Posted: 30 Jan 2017 02:00 PM PST  © Quang Dam
 © Quang Dam "This house means everything to us because it is the fruit of constant efforts to pursue our dreams," said the homeowners, a married couple of young age and active lifestyle. Talking about the house they have just bought, they wanted to renovate it into new living spaces and a home office--a fashion factory producing handcrafted leather products.  © Quang Dam "For a product to be accomplished, say a handbag, it takes many processes involving fastidious needlework," they said about their job. And that is exactly how we renovated the house. Like meticulous craftsmen, we carefully joined up every part of the house: old ones and new ones, separate ones and shared ones, together with wood, brick, concrete, metal and trees.  © Quang Dam The house appears as if it were "sewed" with thin, white, pure thread, which fills us with excitement. Unnecessary walls and floors were removed to make space, exposing a large structure which was "sewed" on walls alongside with big frames at the front and the back of the house. These frames were intricately made of small steel threads to form cubes, which were painted white and decorated with green creepers. Although seemingly slender, they are strong and efficiently protective toward the house, while still letting air and light go inside.  Ground Floor - Mezzanine  © Quang Dam  First Floor - Terrace Floor  © Quang Dam Inside the house, the old concrete staircase was removed, making vast space for light to come in the floors. A new staircase, which was made of seemingly floating wooden pieces "sewed" together with white threads, was put up. This allows light from above to come through to the ground floor. Here lie a long kitchen counter and a wavy table surrounding a small garden. This produces movement contrasting with the stillness of the brick walls.  Section  This posting includes an audio/video/photo media file: Download Now |
| Chadstone Shopping Centre / CallisonRTKL + The Buchan Group Posted: 30 Jan 2017 12:00 PM PST  © CallisonRTKL
 © CallisonRTKL From the architect. The expansion of Chadstone Shopping Centre in Melbourne, Australia, is a seamless celebration of engineering and architecture. The project's centerpiece is a dramatic gridshell glass roof, which soars above what has become the largest and most popular enclosed shopping centre in the Southern Hemisphere. The expansion accommodates upwards of 100 new retailers and a roster of leisure and food operators. The 31-meter high, 7,000-square meter roof was a multi-disciplinary collaboration of designers, architects and engineers working with research departments from the University of Stuttgart and the University of Bath. The design team relied on 3D parametric modelling, refining the massing through a combination of video animation and computer rendering. The roof is the first of its kind on the continent.  © CallisonRTKL CallisonRTKL served as concept designer and The Buchan Group as Executive Architect on the project, which has been a staple of both practices' portfolios since the 1980s.  © CallisonRTKL  Rendered Section  © Seele Product Description. The standout feature of the design is undoubtedly Chadstone's iconic gridshell roof. Its structure is based on a lattice framework which derives its strength from its double curvature. Designed by CallisonRTKL, The Buchan Group, and Atelier One in London and manufactured by Seele in Germany and Czech Republic, the roof consists of a catenary steel gridshell glazed with quadrilateral panels of varying size. Its highly efficient form of only 210mm thick, covers an area of approximately 7000 square meters and in some areas allows clear spans of up to 42 meters.  Diagram The panel layout has been seamlessly mapped to the building perimeter to provide an elegant boundary between the roof and supporting structure. Working in collaboration with the University of Bath we developed a project-specific script to translate a 2D point-controlled quadrilateral grid into a 3D parametric mesh, combining the critical interrelated aspects of the roof form, the glass panels and structural efficiency. The panel sizes were limited to ensure there were no manufacturing or transit-related restrictions, and the surface was developed within very tight planarity limits that enable small levels of cold bending where necessary without generating significant stress.  © Seele  This posting includes an audio/video/photo media file: Download Now |
| House Jodai / Kenta Eto atelier Posted: 30 Jan 2017 11:00 AM PST  © Toshiyuki Yano
 © Toshiyuki Yano From the architect. In this area located in Bunngotakada city, Oita prefecture in the Kyushu region, the annual average temperature and average humidity exceed the national average, and it can be said that it is a hot and humid area. A lot of rain falls all over the area in the summer season. This house has a single large roof on the volume of one story house.  © Toshiyuki Yano The space beneath the large roof has a maximum length of 20m and a cantilever in 3.5m to extend out the edge of eaves more deeply in L-shape than a typical design. This design was determined for; creating effective shade from the strong daylight of the Kyushu region in the summer season; efficiently providing set back deeply away from the end of eaves for severe rainfalls; and making the inside, outside and in-between spaces of the house more effective as living spaces for outdoor usages and other purposes--considering the requests of the client.  © Toshiyuki Yano Providing the space under the eaves deeply outside, a living space similar to the interior space is created. Even if it is raining, residents can have activities for dining, hobbies or playing under the semi-exterior space. In addition, the space can become an approach space that is not exposed to solar radiation and rain, for entry, parking, a place for machine and equipment, or an outside storage space.  © Toshiyuki Yano  Floor Plan  © Toshiyuki Yano Considering the heavy rain peculiar to this Kyushu region, rainwater gutter is not provided. On a heavy rainy day, the rainwater flows down like a waterfall from the simple, single-pitched large roof. A "water curtain" wraps the intermediate space and becomes a viewing space.  Sections This is the project facing the climate such as temperature, humidity and heavy rain in the Kyushu region, as well as the landscape and scenery that are being lost in the process of housing estate development.  © Toshiyuki Yano  © Toshiyuki Yano  This posting includes an audio/video/photo media file: Download Now |
| Blue Barn Theatre & Boxcar 10 / Min | Day Posted: 30 Jan 2017 09:00 AM PST  © Paul Crosby
 © Paul Crosby From the architect. Conceived as an arts hub in a rapidly changing district near downtown Omaha, an experimental theater opens to the city outdoors through a public open space anchored with a mixed-use building. Three related projects share an integrated half-block to transform the relationship of cultural facilities and public / private space towards a collective urbanism. These are buildings and spaces that will transform through inhabitation.  © Paul Crosby  © Paul Crosby  © Paul Crosby Min | Day combined a 13,000 sf. facility for Blue Barn with Boxcar 10, a 10,000 sf. restaurant / residential building, and a 7,500 sf. public open space. Designed for separate owners, the projects share a common language and a unified site strategy including innovative storm water management and unconventional materials. The architects envisioned a collective and collaborative approach embracing the precision programming required (theater, restaurant, housing…) with a loose approach to team formation and project resolution (spaces and structures will transform over time). Min | Day and the clients held an open competition to select the landscape design team for the open space. For Blue Barn, the team commissioned 4 artists to develop functional building elements as art works.  Diagram Challenged to design a building to increase capacity of the theaters while maintaining the risk-taking ethos of the Blue Barn, Min | Day's goal was to enact an exciting urban environment out of the highly specific and technical requirements of the theater while promoting programmatic and material improvisation. At the core of the theater is a 1000 sq. ft. stage and 96-seat house, a hybrid of proscenium and black box types. The Blue Barn sought to mediate the technical and functional demands of a modern theater, a desire for openness and engagement with the city, and the excitement of continual and unpredictable evolution.  © Paul Crosby Loose Design Team: Min | Day sought a collective and collaborative approach to this urban environment embracing a loose approach to team formation and project resolution (spaces and structures will transform over time). Min | Day commissioned 4 artists to develop integrated functional building elements as artworks: a custom brick vestibule by Michael Morgan; interior lighting and built-in furniture by Jim Woodfill; reclaimed wood, heavy timbers, and custom sinks by Daniel Toberer; and the very large backstage door by Chris Kemp. This approach freed the architects from the constant burden of authorship.  Section  © Paul Crosby  Diagram Product Description. Rebar Wall: Min | Day challenged the typical American construction approach that privileges assemblies of products over formed materials. Instead, the architects promoted an explicit materiality and collaborated with a general contractor and commissioned 4 artists to realize materially intensive parts of the building. The most noticeable instance is the RebarWall, a hybrid cladding system that envelops the exterior. The typical detail, welded rebar held in front of Corten sheet metal siding, transforms to accommodate special conditions around the building. The rebar both unifies and differentiates the theatre. Handmade Digital Architecture: Attempting to componentize the system Min | Day designed the rebar screen in 48" panels to be bolted to the building. However, given concern about adjacent power lines (complicating crane picks) and the additional parts required for this installation, the architects radically simplified the system – in the end each strand of rebar was individually welded to Corten brackets. While the underlying pattern was derived algorithmically and optimized digitally, the installation of parts is decidedly low-tech.  © Paul Crosby  This posting includes an audio/video/photo media file: Download Now |
| Foster + Partners Cascading Complex Wins Competition for New Hotel in Mecca Posted: 30 Jan 2017 08:00 AM PST  Courtesy of Foster + Partners Foster + Partners has won an international competition for a new luxury hotel and apartment complex located just outside the Grand Mosque in Mecca, Saudi Arabia. Borrowing from traditional Arab architecture and the area's mountainous terrain, the mixed-use development will take the form of a cluster of vertical building clusters, arranged in a stepped topography.  Courtesy of Foster + Partners "Makkah is one of the most unique cities in the world," said Luke Fox, Head of Studio and Senior Executive Partner, Foster + Partners. "As the home of the Holy Kaaba - the holiest site in Islam - it presents a special challenge and honour for any developer and architect. Our design sets out to create an innovative building form that will be respectful to the scale and importance of the Grand Mosque."  Courtesy of Foster + Partners Addressing the shortage of accommodation options for visitors to the mosque, the project will maximize the number of rooms with views out towards the Holy Kaaba. Interiors have been designed from the inside-out, with each room containing a dedicated space for private prayer and contemplation. The hotel will be located on the axis between the new Haramain High-speed Rail Station and the Grand Mosque, becoming a new gateway for pilgrims as they complete their journey. Circulation through the building will manifest in a dramatic pedestrian ramp that will connect the complex's naturally lit spaces.  Courtesy of Foster + Partners "Our endeavour has been to make the experience special and appropriate to its unique location," added Fox. "The design follows a philosophy of 'luxury with humility' with an understated elegance throughout the development. On behalf of all the design team I would like to thank Jabal Omar Development Company for choosing to work with us. We are incredibly eager to begin work on the next stage, and look forward to a successful collaboration." News via Foster + Partners.  This posting includes an audio/video/photo media file: Download Now |
| Pinar del Faro House / Carolina Pedroni + Delfina Riverti + Miguel Rossi Posted: 30 Jan 2017 07:00 AM PST  © Roberto Riverti
 © Roberto Riverti From the architect. The house is situated on a high point of the terrain, surrounded by a number of large pine trees.  © Roberto Riverti The abrupt shoulder towards the street is taken advantage of for the access to the house. A set of outdoor stairs connects to the high level of the garden, turning it into the new zero.  © Roberto Riverti  Section  © Roberto Riverti Upstairs, one encounters a large patio—vacant and contained. The patio's limits are defined by a gallery that doubles as an exterior hallway, while a lateral wall is offset by a sliding door, creating a certain degree of privacy from neighbours.  © Roberto Riverti The bedrooms relate to the back end of the garden through the patio. While the semi convered and the swimming pool frames the forest.  Ground Floor Plan Concrete plays a big part in the main volume, where it is used in walls as well as floors. Meanwhile, wood is used as both solar and visual relief. Because of its sliding gates, the house can be closed towards the front—thus controlling how much sun from the west is allowed in.  © Roberto Riverti Wood is utilised once again in the top level, where the master suite is found. Diagonal roof ridjes are featured in this room and on the cielings of the rest of the rooms on this level, creating two folded wooden volumes on the concrete floor.  © Roberto Riverti  This posting includes an audio/video/photo media file: Download Now |
| CORE’s Undulating Tower Will Be Mississauga's Tallest Building Posted: 30 Jan 2017 06:00 AM PST  © Brick VIsual CORE Architects has revealed designs for a 60-story tower in Mississauga, Ontario, that when completed, will become the tallest building in Canada's 6th largest city. The first of an eventual 10 towers that will make up the $1.5 billion, master-planned community of M City, the building features an undulating facade that was conceived as a continuation of the design mentality established by MAD Architects' nearby Absolute Towers.  © Norm Li The tower will serve as a landmark of the first phase of the 15-acre community, which is being developed by Toronto-based Urban Capital Property Group. CORE Architects' design, chosen through an invited design competition, is recognized by the unique geometry of its facade, which results from the twisting of seven floor plates that skw as the building rises, stacking in a repetitive pattern. The resulting figure creates the impressions of "fluid movement and lightness of mass."  © Brick VIsual "M City's tower will be instantly recognizable, but equal attention and care was given to the podium, which anchors the project. Not only does the podium enable the lifestyle component of the building, but it defines how this and future phases interact with the streetscape and the fine grain network of blocks that characterize the master plan," explains Mark Reeve, partner at Urban Capital Property Group.  © Norm Li At its base, a faceted glass podium will house retail and public space, while accommodating a large rooftop terrace. Other amenities will include chef's kitchen and dining room, small and large lounges, a kids' lounge with games and play zone, gym and yoga/spinning rooms. Interiors for the project have been conceived by interior design firm Cecconi Simone, drawing inspiration from the architecture's dynamic geometry. "It was important that the interiors and amenities achieved the same attributes as the architecture: fluidity, movement, excitement. The amenities flow from interior to exterior and the spaces are not simply square or straight but are sculpted in angular planes defined with different materials. Floor finishes wrap up walls, planes are folded and twisted, sunlight and artificial light are manipulated to enhance the spaces," says Elaine Cecconi, partner, Cecconi Simone.  © Norm Li The full masterplan has been approved by the City of Mississauga as part of action plans to "build a complete city." The development will be integrated into the regional public transit network, connecting the community with Mississauga's growing downtown district. News via CORE Architects. Absolute Towers / MAD Architects  This posting includes an audio/video/photo media file: Download Now |
| Herstal City Hall / Frederic Haesevoets Architecte Posted: 30 Jan 2017 05:00 AM PST  © Christophe Vootz
Listen, Understand, Create, Innovate, Surprise. This approach develops through a generous act, mixing modernity and organic. It is about creating a new way of discovering, moving, getting your bearings, and working.  © Christophe Vootz Creating sensuality. Adopting this approach we have developed this project for the building of the Herstal City Hall. Our objective: to create it in a surprising and innovative way.  © Christophe Vootz The setting up of the building is divided into 2 parts. This allows creating a largely open pedestrian area which lets us discover an inside made of patches of vegetation conceived as a public garden.  © Christophe Vootz The choice of tree species and other vegetables has been made according to their flowering, persistence, pigmentation and their smell in order to get a continuously changing nature from March to December.  © Christophe Vootz The impact of car traffic is played down as cars drive on grass seeded flagstones as well as on outside parking places.  Ground Floor Plan Located on a sloping parcel of land with a difference in height of several meters the building commits itself to an ambitious juxtaposition – the base, the transparent layers and the wrapping. A techno-sensual wrapping floating on an immaterial basis  © Christophe Vootz A shaped landscape-pedestal The pedestal is the base of the parcel of land – a generous surface as a welcome centre.  © Christophe Vootz The base is the foundation of the project: it adopts the parcel of land and all its differences in levels and is conceived as a green trail.  © Christophe Vootz This difference in height makes it possible for underground floors (car park, printing shop) to benefit from ventilation and natural light.  © Christophe Vootz The base is also the most transparent place, open towards the outside and full of light. This base plays the role of a public space which guarantees the continuity between the inside and the outside. It is a place of exchange, of information, of learning, of communication, a place of life. So all the reception facilities and all the services are accessible to the public on a daily basis.  © Christophe Vootz The floors are made in a similar way. The transparency enables to diffuse natural light and to extend the notion of space by playing down the limits. These places are also open to the outside: covered terraces, central walkways, greens spaces…  © Christophe Vootz In order to generate different volumetries according to the needs, heights and levels are variable and spaces are interrelated by a footbridge. This makes the different places accessible to all.  © Christophe Vootz From this place a viewpoint through window glasses allows understanding the functioning of the building and offers a clear lecture by putting visually and quickly the different services through to each other.  © Christophe Vootz Product Description. 1. Forbo flooring with the colored floor give the identity of the internal building, with a code for circulation RED, working space GREEN, common space GREY, Technical Space BLUE.  © Christophe Vootz 2. D-Dalle is really the identity of the structure of the building, with this powerful visible wood structure, and the flexibility, acoustic solution.  © Christophe Vootz 3. Plant Design, with the green façade, studied specifically for the project, and with the structured facade, give also all visual external identity of the building, with also a maximum of senses developed, Sight, Smell and Hearing.  © Christophe Vootz  This posting includes an audio/video/photo media file: Download Now |
| Posted: 30 Jan 2017 04:00 AM PST  © Per Berntsen Below is an excerpt of the cover story of this month's Surface magazine: an in-depth look at Peter Zumthor's recently completed Allmannajuvet Zinc Mine Museum, featuring exclusive quotes from the architect himself. The first thing you notice when you arrive at the new Allmannajuvet Zinc Mine Museum outside Sauda, Norway, is that it looks nothing like a museum—or at least, what we think of as a museum. On a steep site framed by elegantly rugged walls of dry stone, three black, shed-like and zinc-roofed structures look far too small to house exhibits, much less hordes of visitors. But this isn't a museum in the conventional sense. Consisting of a service building with restrooms, a café, and a gallery—all perched on tall timber supports—it's more a memorial to those who toiled in the zinc mine that operated on the site from 1881 to 1899 in the spectacularly beautiful Allmannajuvet Ravine. The mine and its accompanying trail were long ago abandoned, the original buildings a distant memory.  © Anne Gabriel-Jürgens. Courtesy of Surface Magazine To followers of contemporary architecture, it's no surprise that that the museum's haunting trio of latter-day mine shacks was designed by Peter Zumthor, the Pritzker Prize-winning Swiss architect known not only for his focus on craftsmanship and the subtleties of a building's site, but also for his sensitivity to what the eye can't see. "Landscapes, cities—they store history," he says. "If you have an awareness of history, it comes to be part of the now. I try to make the almost-forgotten history of a place part of my buildings."  © Anne Gabriel-Jürgens. Courtesy of Surface Magazine That history appears not just in the industrial aesthetic of Allmannajuvet's architecture, but in small touches like the site map, cut into a cast zinc plaque, that greets visitors at the service building; the café gift shop's array of wool scarves, caps, socks, and mittens, handmade by Aud Gloppen of Oslo-based firm Blaest Design and approved by Zumthor himself; and the oversize books that were commissioned for the gallery to complement the selection of tools and other artifacts from the mine. The books cover the site's geology and vegetation, its history and its architecture, and include an anthology of underground-themed written works ranging from literary classics (Dante's Inferno and Henrik Ibsen's play Peer Gynt) to popular music hits (Barry and Robin Gibb's "New York Mining Disaster 1941") to a hybrid of the two (Bob Dylan's "Subterranean Homesick Blues").  © Anne Gabriel-Jürgens. Courtesy of Surface Magazine The uncompromising darkness of the buildings was achieved by coating their plywood walls with black PMMA, a European-made waterproofing material, applied over a substrate of jute mesh—a more resilient echo of the tar that covered old industrial buildings in the area. Zumthor experimented with jute when he was designing the 2011 Serpentine Pavilion in London, but Allmannajuvet represents his first use both for permanent exterior cladding and for the interiors. To his team's knowledge, it's the first time PMMA has been applied on vertical and overhead surfaces. The architect considered using color on the buildings, but ultimately decided against it. "The color is in the landscape," he said, pointing to the view through window of the café.  © Anne Gabriel-Jürgens. Courtesy of Surface Magazine The effect of jute on the interiors is intimate and welcoming rather than starkly utilitarian. In both the café and gallery, ceiling heights vary dramatically, from 15-and-a-half feet in some areas—to allow indirect light in through skylights—to just over seven feet in the gallery's exhibition area and the seating areas in the café. In the latter, stainless steel-framed ribbon windows are located at table height so that visitors can admire the scenery while having lunch or coffee (on Zumthor-designed furnishings, under Zumthor-designed ceiling lights). All three buildings have a structure of creosote-impregnated, glue-laminated pine supports, which are attached to steel plates bolted to the rock in a pains-taking feat of engineering by Zumthor in close collaboration with Finn-Erik Nilsen and Jürg Buchli. Detailed dimensioning was done by Nilson and Lauber Ingenieure. The tallest of the vertical supports measures nearly 79 feet. To read the rest of the article, head over to Surface Magazine's newly redesigned website, here. Allmannajuvet Zinc Mine Museum / Peter Zumthor The Noble Simplicity of Peter Zumthor's Allmannajuvet Zinc Mine Museum  This posting includes an audio/video/photo media file: Download Now |
| Jardim Europa Apartment / Perkins+Will Posted: 30 Jan 2017 03:00 AM PST  © Daniel Ducci
 © Daniel Ducci One of the challenges that Perkins+Will faced in this project was the development of a new fashion apartment that should at the same time respond to the receptive profile of the residents and be a sophisticated and comfortable space.  © Daniel Ducci The solution was to break down the barriers that kept the spaces segmented. Instead of sectorization, every area of the social hall, passing throughout the living room and dining room results in a single nucleus of coexistence. Here, everyone connects with everyone, allowing a more humanized and inviting space. To reinforce such feeling, the grid-like liner runs through these spaces, materializing as an integrating element. Materials such as wood and burnt cement have been applied, allowing the sobriety appearance demanded by the client. The furniture is much more flexible; chairs with more contemporary design, chests in the form of barrels or even a bicycle welcome the guests. In this same axis, the openings allow a privileged view of the city, once they are fully integrated with the balcony.  Floor Plan (English) Directly connected to this large space is the kitchen, whether or not it might be integrated; at first, it is hidden behind sliding panels. When necessary, the panels are opened and the living axle gains a lunch room and a kitchen as an annex. The rest of the apartment is composed of intimate areas such as TV rooms and suites. Unlike the rest of the apartment, these spaces are more reserved, respecting the privacy of each resident.  © Daniel Ducci
Relevant aspects of the apartment include: • Wood grating in the liner runs through all common environments; • Coatings such as wood and burnt cement help to give sobriety; • Diversified furniture, betting on a mix of neutral tones with strong colors;  © Daniel Ducci The program requested for this residence includes: • Reception, Living, Dining Room and Balcony integrated; • Kitchen and Lunch room;  © Daniel Ducci • Laundry and Services Area; • Master Bedroom with Closet and Living Room; • 02 bedrooms with private restroom;  © Daniel Ducci  This posting includes an audio/video/photo media file: Download Now |
| The Architectural Stories Behind 7 Famous Album Covers Posted: 30 Jan 2017 01:30 AM PST  Image <a href='https://www.amazon.com/Physical-Graffiti-Led-Zeppelin/dp/B000002JSN/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=8831718525&linkCode=as2&tag=arch05-20&linkId=QFBKEXFXIXX7CVQT'>via amazon.com</a> The production of creative work often requires a very particular type of space—a temple, if you will, to the work being done. Architects and artists are open about how their living and working areas affect their practice, and musicians, of course, are no different. Perhaps this is why places and spaces are often featured on album covers. The art on an album cover is partially advertising, but it is also often a visual symbol of an entire period in the life of a musician. An album's cover artwork may depict the view a band saw coming into the studio every day, the building the album was recorded in, the city the musician grew up in, or myriad other more abstract connections. We will leave it to you to make sense of the connection between the 7 architectural landmarks featured on the following albums and the music their images envelop, but the stories behind the constructions themselves may help you make a more educated guess.  Image <a href='https://www.amazon.com/Encore-DJ-Snake/dp/B01HOT180K/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=8831718525&linkCode=as2&tag=arch05-20&linkId=QFBKEXFXIXX7CVQT'>via amazon.com</a> The Album: Encore, DJ Snake (2016) Guimard is known as one of the architects who brought Art Nouveau to France, a style which began in the decorative arts in the late 1800s and spread to architecture soon after. Central to its ethos was the importance of decoration. Previously unadorned surfaces sprouted new ornamentation in the form of paintings, relief work, stained glass, and more. The architects of these embellished structures drew their inspiration from organic curves and plantlike shapes in response to the industrial architecture of the previous era. Hector Guimard's entrances to the Paris metro are among the most iconic examples of the Art Nouveau style. Although the entrance's form maintains a sense of abstraction, the architect pulls from naturalistic motifs to create a new style: the legs of the structure evoke stems or vines, while the glass awning extends out like a leaf. Guimard's entrances are also known for their use of the era's material advancements in cast iron and glass.  Image <a href='https://www.amazon.com/Physical-Graffiti-Led-Zeppelin/dp/B000002JSN/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=8831718525&linkCode=as2&tag=arch05-20&linkId=QFBKEXFXIXX7CVQT'>via amazon.com</a> The Album: Physical Graffiti, Led Zeppelin (1975) Many of Manhattan's tenements began as middle-class townhouses in SoHo and the Lower East Side. Single families occupied an entire building, and even had a large yard hidden from the street. Throughout the 19th century, as the city became increasingly populated and industrialized, the value of space appreciated to the point that that these affordable single family homes were no longer economically viable. Landlords parceled out the townhouses into apartments, first making each story a separate unit, then adding partitions within each story. To further increase the building's profitability, the existing yards often gave way to construction additions until they disappeared completely. The evolution from townhouse to tenement was also driven by the movement of labor into the area. In the second half of the 19th century, the garment industry had taken hold of lower New York. It drew low-wage employees, often immigrants, who created a need in the market for less expensive housing. Meanwhile, the former tenants of the townhouses moved uptown to get away from garment production, which they perceived to have brought danger and noise to the neighborhood, leaving their homes behind them. When these homes were subdivided to the point that multiple people shared a single room, and built next to one another in such a way that little light or fresh air could enter, the tenement was born.  Image <a href='https://crucialblast.bandcamp.com/album/dead-mountain-mouth'>via bandcamp.com</a> The Album: Dead Mountain Mouth, Genghis Tron (2006) The geodesic dome was first conceptualized by Buckminster Fuller in the early 1900s. The architect and inventor wanted to design a new style of housing that would improve quality of life. He devised the geodesic dome as an extremely efficient housing model. Fuller took advantage of new materials, building a steel frame structure that was strong enough to hold coverings and light enough to ship inexpensively (and ideally even transport by air). The dome is made up of triangles, a shape chosen for its strength, and an array of different covering materials. The parts for Fuller's dome can be mass manufactured and assembled with little difficulty, all in the hope to cut costs enough to make more housing available to more people. Inside, natural air circulation regulates temperature, and efficient plumbing decreases water usage. Fuller was contacted after WWII to build the "house of the future" around the country, but several problems made it difficult to scale up. The geodesic dome remains an important contribution to humanitarian architectural research.  Image <a href='https://www.amazon.com/Animals-PINK-FLOYD/dp/B00EMKV666/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=8831718525&linkCode=as2&tag=arch05-20&linkId=QFBKEXFXIXX7CVQT'>via amazon.com</a> The Album: Animals, Pink Floyd (1977) Construction on the Battersea Power Station began in 1929 as part of a move to consolidate London's power grid from many small, privately owned stations into a single plant owned by the public. The Power Station's prime location on the Thames, which was necessary for cooling and coal transportation, put its design under heavy public scrutiny. A team of architects and engineers designed the original project, but the proposal was received so poorly by the public that Sir Giles Gilbert Scott was hired to redesign the exterior. A steel frame and brick exterior are clad in Art Deco detailing, such as the thick vertical fluting on the four chimney shafts. It is now one of London's largest development sites, with the power station being converted into a mixture of apartments and offices hosting Apple's new London campus, while the surrounding area plays host to new projects by Gehry Partners, Foster + Partners, and BIG.  Image <a href='https://www.amazon.com/Yankee-Hotel-Foxtrot-Wilco/dp/B00005YXZH/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=8831718525&linkCode=as2&tag=arch05-20&linkId=QFBKEXFXIXX7CVQT'>via amazon.com</a> The Album: Yankee Hotel Foxtrot, Wilco (2002) An icon of the Chicago skyline, Bertrand Goldberg's Marina City is actually a set of two identical reinforced concrete towers. At the time of the project's completion in 1964, Marina City was the tallest residential building in the world. Goldberg was commissioned to build something that would help to combat the migration out of the city and into suburbs that had affected Chicago and many other metropolitan areas after WWII by demonstrating that suburban amenities could exist within a city. To do this, Goldberg combined all of the attributes of a suburb into the towers for maximum convenience: he included a gym, bowling alley, iceskating rink, restaurants, and even nineteen stories of parking at the base of each tower. The smoothness of Marina City's corn cob shape is echoed on the interior, which features soft curves in place of right angles and is divided into equal units for a 360-degree view. Many of the towers' original facilities still exist (not the ice rink, sadly), and the project now has landmark status.  Image <a href='https://gramatik.bandcamp.com/album/sb-3'>via bandcamp.com</a> The Album: SB#3, Gramatik (2010) The Empire State Building is a New York City icon like no other. Commissioned in 1929, the building was intended to be a towering representation of the boldness of the United States. The "stair-step" effect of the skyscraper's top half is an outcome of the 1916 Zoning Regulation, which required tall buildings to be set back (tiered) proportionally to their height and footprint in an effort to allow light and air to flow down into the street. Unlike most projects of this period, which began pre-1929 and halted construction after the stock market crash, the Empire State Building was actually an effort to create economic activity despite the Great Depression. This was partially achieved in the thousands of construction jobs the project supplied, but to be fully successful, the building had to have as much office space as possible, hence the large lot and height. Aesthetically, the building is an understated Art Deco, much less flamboyant than its NYC neighbor the Chrysler Building.  Image <a href='https://www.amazon.de/Sprawl-Ii-Arcade-Fire/dp/B007IRRW86/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=8831718525&linkCode=as2&tag=arch05-20&linkId=QFBKEXFXIXX7CVQT'>via amazon.de</a> The Album: "Sprawl II" Single, Arcade Fire Sprawl describes a form of urban development most often associated with the postwar United States, when a growing middle class moved away from urban centers and into the suburbs. The nature of the suburb, and a major factor in the choice to move, is the availability of land affordable enough for single family homes with private lawns. As more people moved away from cities with expectations for less-dense life in the suburbs, developers built new neighborhoods and expanded towns into previously undeveloped land. Sprawl necessitates travel by car, which was made possible by falling automobile prices at this time. Sprawl is notorious for its poor use of resources, problems of traffic and pollution, and the vacuum of it leaves behind as it empties out residents and funding from cities.  This posting includes an audio/video/photo media file: Download Now |
| Lillehammer Art Museum and Lillehammer Cinema Expansion / Snøhetta Posted: 30 Jan 2017 01:00 AM PST  © Mark Syke
 © Mark Syke From the architect. Twenty two years after completing the first expansion to the Lillehammer Art Museum, Snøhetta is honored to expand the project yet again, creating a holistic expression for both the art museum and the adjacent cinema. Integration of art plays a central role in all aspects of the project, from the landscape to the program to the buildings themselves.  © Mark Syke  Axonometric  © Mark Syke The Lillehammer Art Museum and Lillehammer Cinema were first established in an Erling Viksjø-designed building in 1964, which is considered today a definite representation of the architectural style of its time. In 1994, Snøhetta completed an extension to the Museum with the construction of an independent building that sought to bridge the architectural language of the original 1960s buildings and contemporary formal expression. Now, in 2016, a second Snøhetta-designed expansion connects the two existing institutions with the addition of the new exhibition hall Weidemannsalen to the Museum, and two theaters and an interior renovation to the Lillehammer Cinema.  © Mark Syke The expansion of the Museum is created on idea of art hovering above a transparent base. The new space houses a children's workshop at ground level with floor-to- ceiling windows and sits beneath a cantilevered hall wrapped in a dynamic metal façade. The circulation through the Museum is significantly improved, with a new connection below the art garden enhancing the visitor experience.  © Snøhetta & Ketil Jacobsen The second story gallery is dedicated to housing the works of Lillehammer-based artist Jakob Weidemann (1923-2001). The gallery's striking metallic wrapping reflects the surrounding context and changes its appearance with the light. The façade was created by late Norwegian artist Bård Breivik (1948-2016), and it is conceptually rooted in the sculptural idea of a shooting star, a dramatic symbol of the importance of Weidemann's contribution to Norwegian painting. The façade is made from driven, highly polished stainless steel, with reliefs at approximately 25cm deep.  © Mark Syke The Lillehammer Cinema added two new auditoriums and renovated its existing circulation space. One auditorium is integrated in the existing building structure, and the second is located below the art garden, between the two existing buildings. The entrance façade is renewed to compliment the style of the original building and brings to front a wall integrated with art by Odd Tandberg. The key concept is to bring back the foyer as an extension of the plaza in front of the Cinema, creating a stronger connection between the city and the foyer, as Viksjø originally had imagined it. With this, Tandbergs wall art in the foyer is again part of the city.  © Snøhetta & Ketil Jacobsen The integration of art, architecture, and landscape is an important feature in both Snøhetta and Erling Viksjø's work. When Snøhetta designed the museum expansion in 1994, the spaces in between the buildings were transformed into an art garden in the firm's first collaboration with artist Bård Breivik. For the recent expansion, it has been important to again enhance these connecting spaces, bringing the three volumes together in one complete project  Schema  This posting includes an audio/video/photo media file: Download Now |
| Posted: 29 Jan 2017 11:40 PM PST  Courtesy of EUmiesAward17 The European Commission and the Mies van der Rohe Foundation have announced the 40 shortlisted works that will compete for the 2017 European Union Prize for Contemporary Architecture – Mies van der Rohe Award. The jury has chosen from 355 nominated works and the shortlist highlights the opportunities and the trends of today's European territory: cities, housing, heritage, and memory. The five finalists will be announced in mid-February and the winner and the Emerging Architect in mid-May. A third of the works tackle the challenge of contemporary architecture in relation with built heritage and a third of the work tackles the contemporary challenges of housing. The management of the historic urban landscape will be among the priorities highlighted by the 'European Year of Cultural Heritage' in 2018. "I would want the shortlisted schemes to demonstrate an interest in making places, in exploring convention and known typologies, in celebrating the pleasures of everyday use by a consideration of detail and an unspoken resistance to the current global tendency towards a self-referential architecture, one that belies context and the act of inhabitation." - Stephen Bates, Chairman of the Jury. Seen the shortlist after the break. BELGIUMNAVEZ - 5 social units as Northern entrance of Brusselsf / MSA / V+ NAVEZ - 5 social units as Northern entrance of Brusselsf / MSA / V+. Image © Serge Brison Polyvalent Infrastructure / BAUKUNST Polyvalent Infrastructure / BAUKUNST. Image © Hélène Binet GERMANYEuropean Hansemuseum / Studio Andreas Heller GmbH Architects & Designers European Hansemuseum / Studio Andreas Heller GmbH Architects & Designers. Image © Werner Huthmacher Barn / Thomas Kröger Architekten Barn / Thomas Kröger Architekten. Image © Thomas Heimann DENMARKKannikegården / Lundgaard & Tranberg Architects Kannikegården / Lundgaard & Tranberg Architects. Image © Anders Sune Berg Kvæsthus Pier / Lundgaard & Tranberg Architects Kvæsthus Pier / Lundgaard & Tranberg Architects. Image © Jens Lindhe Skjern River Pump Stations / Johansen Skovsted Arkitekter Skjern River Pump Stations / Johansen Skovsted Arkitekter. Image © Rasmus Norlander SPAINMuseum of the Royal Collections / Mansilla + Tuñón Arquitectos Museum of the Royal Collections / Mansilla + Tuñón Arquitectos. Image © Suravia House 1014 / HARQUITECTES House 1014 / HARQUITECTES. Image Courtesy of EUmiesAward17 Collective housing for elderly people and civic and health centre / Bonell i Gil; peris+toral.arquitectes Collective housing for elderly people and civic and health centre / Bonell i Gil; peris+toral.arquitectes. Image © José Hevia FINLANDSuvela Chapel / OOPEAA Suvela Chapel / OOPEAA. Image © Mika Huisman Opinmäki School / Esa Ruskeepää Opinmäki School / Esa Ruskeepää. Image © Antti Canth Puukuokka Housing Block (house 1) / OOPEAA Puukuokka Housing Block (house 1) / OOPEAA. Image © Mikko Auerniitty FRANCECommunity Workshop / Boidot Robin architectes Community Workshop / Boidot Robin architectes. Image © Clément Guillaume 59 Dwellings, Neppert Gardens Social Housing / Lacaton & Vassal architectes 59 Dwellings, Neppert Gardens Social Housing / Lacaton & Vassal architectes. Image © Philippe Ruault The Rivesaltes Memorial Museum / Rudy Ricciotti The Rivesaltes Memorial Museum / Rudy Ricciotti. Image © Kevin Dolmaire Ariane futsal sports complex / CAB Architectes Ariane futsal sports complex / CAB Architectes. Image © Aldo Amoretti IRELANDModel School Inchicore / Donaghy + Dimond Model School Inchicore / Donaghy + Dimond. Image © Ros Kavanagh Merrion Cricket Pavilion / TAKA Merrion Cricket Pavilion / TAKA. Image © Alice Clancy ITALYFondazione Prada / OMA Fondazione Prada / OMA. Image © Bas Princen LITHUANIARasu Houses / Paleko ARCHstudija + PLAZMA Architecture Studio Rasu Houses / PLAZMA Architecture Studio. Image © Norbert Tukaj NETHERLANDSLandmark Nieuw-Bergen / Monadnock Landmark Nieuw-Bergen / Monadnock. Image © Stijn Bollaert Timmerhuis / OMA Timmerhuis / OMA. Image © Ossip van Duivenbode deFlat Kleiburg / NL Architects + XVW architectuur deFlat Kleiburg / NL Architects + XVW architectuur. Image © Marcel van der Brug NORWAYWeekend House at Sildegarnsholmen / Knut Hjeltnes AS Sivilarkitekter MNAL Weekend House at Sildegarnsholmen / Knut Hjeltnes AS Sivilarkitekter MNAL. Image © Knut Hjeltnes Moholt 50I50 - Timber Towers / MDH Arkitekter SA Moholt 50I50 - Timber Towers / MDH Arkitekter SA. Image © Ivan Brodey Eldhusøya Tourist Route Project / Ghilardi+Hellsten Arkitekter Eldhusøya Tourist Route Project / Ghilardi+Hellsten Arkitekter. Image © Roland Halbe POLANDKatyn Museum / BBGK Architekci Katyn Museum / BBGK Architekci. Image Courtesy of EUmiesAward17 PORTUGALHouse in Oeiras / Pedro Domingos Arquitectos House in Oeiras / Pedro Domingos Arquitectos. Image © João Carmo Simões Museum of Art, Architecture and Technology / AL_A Museum of Art, Architecture and Technology / AL_A. Image © Francisco Nogueira EDP Headquarters / AIRES MATEUS EDP Headquarters / AIRES MATEUS. Image © Aires Mateus Nadir Afonso Museum for Contemporary Art / Álvaro Siza Nadir Afonso Museum for Contemporary Art / Álvaro Siza. Image © Fernando Guerra | FG+SG ROMANIATake a(l)titude / Studio Archaeus Take a(l)titude / Studio Archaeus. Image © Dan Purice SWEDENÖstermalm's Temporary Market Hall / Tengbom Östermalm's Temporary Market Hall / Tengbom. Image © Felix Gerlach TURKEYAngelos Organic Olive Oil Mill / Mimarlar ve Han Tümertekin Angelos Organic Olive Oil Mill / Mimarlar ve Han Tümertekin. Image © Cemal Emden Beyazıt State Library Renovation / Tabanlioglu Architects Beyazıt State Library Renovation / Tabanlioglu Architects. Image © Emre Dörter UNITED KINGDOMHolmes Road Studios / Peter Barber Architects Holmes Road Studios / Peter Barber Architects. Image Courtesy of EUmiesAward17 Shepherdess Walk Housing / Jaccaud Zein Architects Shepherdess Walk Housing / Jaccaud Zein Architects. Image © Hélène Binet Ely Court / Alison Brooks Architects Ely Court / Alison Brooks Architects. Image © Paul Riddle Granby Four Streets / ASSEMBLE Granby Four Streets / ASSEMBLE. Image © Lewis Jones Find more about the 40 works here.  This posting includes an audio/video/photo media file: Download Now |
| Henley Halebrown Releases New Images of Mixed Use School in London Posted: 29 Jan 2017 10:00 PM PST  Looking east along Downham Road. Image Courtesy of Henley Halebrown Henley Halebrown has released updates for their proposed mixed-use scheme in Hackney, London. 333 Kingland Road, previously occupied by a fire station, will soon be home to the Hackney New Primary School, commercial units, and dual aspect apartments. The scheme aims to address a need for school places and homes in London and to maintain a connection between learning and living in a dense urban environment.  Looking east along Downham Road. Image Courtesy of Henley Halebrown The apartment building accommodates 68 dual aspect one and two-bedroom apartments around a single core, with duplex penthouses at the top. Retail units on the ground and basement levels maintain an active street front, breaking from the traditionally insular nature of educational buildings.  Looking north along Kingsland Road. Image Courtesy of Henley Halebrown  Looking south along Kingsland Road. Image Courtesy of Henley Halebrown The apartments' compact footprint maximizes the space available for the primary school. Classrooms, administration and the main hall are organized around a central courtyard. The school places a strong emphasis on the connection between the indoor and outdoor environment. External yet covered circulation allows students and staff to be refreshed while moving between spaces, while mezzanines, gardens, and terraces at all levels promote outdoor teaching and exercise.  Model of school entrance. Image Courtesy of Henley Halebrown  The central school courtyard. Image Courtesy of Henley Halebrown
 Southeast axonometric . Image Courtesy of Henley Halebrown Externally, masonry facades are carefully composed to incorporate substantial windows, loggias, and double height colonnades.  Brick column design process. Image Courtesy of Henley Halebrown Planning permission was granted in January 2017. News via: Henley Halebrown.  This posting includes an audio/video/photo media file: Download Now |
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