Arch Daily |
- 2017 ArchDaily Building of the Year Awards: The Finalists
- AD Classics: Hôtel van Eetvelde / Victor Horta
- Two-familiy Apartment Houses / Staehelin Meyer Architekten
- Versluys / Govaert & Vanhoutte Architects
- Veranda on a Roof / Studio Course
- Little Bao at 72 Courtyard / JJA - Bespoke Architecture
- Ashish Cherian Residence / Architecture Paradigm
- Moustiquaire Maurel-Coulombe / Guillaume Pelletier Architecte
- Video: Dorte Mandrup Discusses the Wadden Sea Center and Expanding Construction Tradition
- University Psychiatric Centre / Stéphane Beel Architect
- MARTaK Passive House / Baosol
- Soar Through MVRDV's Competition-Winning Zaanstad Cultural Center Design
- 4 Chinese Vernacular Dwellings You Should Know About (Before They Disappear)
- TinkerBox / Studio MM Architect
- The Most Beautiful Visual Compositions From The Simpsons
- Explore Budapest's Art Deco and Bauhaus Staircases Through This Photo Series
- A Tilting Horizon: Reflecting on 50 Issues of VOLUME and What's Yet to Come
| 2017 ArchDaily Building of the Year Awards: The Finalists Posted: 31 Jan 2017 03:19 AM PST  Following an exciting week of nominations, ArchDaily's readers have evaluated over 3,000 projects and selected 5 finalists in each category of the Building of the Year Award. Over 30,000 architects and enthusiasts participated in the nomination process, choosing projects that exemplify what it means to push architecture forward. These finalists are the buildings that have most inspired ArchDaily readers. This diverse group of projects hail from all corners of the globe and from firms of different sizes and style. This year's selection includes some Building of the Year stalwarts alongside a healthy selection of lesser-known and emerging practices - but most importantly, they all capture architecture's capacity to spark positive change in the environment.  HOUSES  HOUSING  HOSPITALITY  EDUCATIONAL ARCHITECTURE  OFFICES  INTERIOR ARCHITECTURE  REFURBISHMENT  CULTURAL ARCHITECTURE  PUBLIC ARCHITECTURE  SPORTS ARCHITECTURE  RELIGIOUS ARCHITECTURE  INDUSTRIAL ARCHITECTURE  HEALTHCARE ARCHITECTURE  COMMERCIAL ARCHITECTURE  SMALL SCALE ARCHITECTURE  BEST APPLIED PRODUCTS You can vote for your favorite projects starting today until February 6th, 2017 at 9:00AM EST (read the complete rules). Make your voice heard – vote for your favorite projects for the 2017 Building of the Year Awards!  This posting includes an audio/video/photo media file: Download Now |
| AD Classics: Hôtel van Eetvelde / Victor Horta Posted: 31 Jan 2017 08:00 PM PST  Courtesy of Wikimedia user Zinneke (licensed under CC BY-SA 3.0) To the contemporary observer, the flowing lines and naturalistic ornamentation of Art Nouveau do not appear particularly radical. To some, Art Nouveau may even seem to be the dying gasp of 19th Century Classicism just before the unmistakably modern Art Deco and International Styles supplanted it as the design modes of choice. The Hôtel van Eetvelde, designed in 1897 by Victor Horta—the architect considered to be the father of Art Nouveau—suggests a different story. With its innovative spatial strategy and expressive use of new industrial materials, the Hôtel van Eetvelde is a testament to the novelty of the "New Art." On December 17, 1865, Leopold II ascended the throne and became King of the Belgians. From the outset of his reign Leopold pursued grand plans for the revitalization of the Belgian capital, Brussels. Backed by the power (and occasional funds) of the crown, elegant avenues, manicured parks, and august museums began to proliferate throughout the city. It was a transformation not unlike that which Baron Haussmann and Napoleon III had effected in Paris in the preceding two decades, albeit with one key distinction: while Paris became defined by aesthetically uniform, monolithic apartment blocks, the burgeoning middle class in Brussels instead commissioned private houses, each designed to expressively stand out from its neighbors. The result, while no less impressive than the orderly Parisian façades, was one of extreme variegation.[1]  This street front comprises typical Brusselian townhouses: narrow, multilevel, and highly individualistic in their ornamentation. ImageCourtesy of Flickr user Steve Cadman (licensed under CC BY-SA 2.0) It was in the midst of this development boom that Edmond van Eetvelde, the Belgian secretary of the Congo Free State—the Belgian colony in central Africa which quickly became infamous for its human rights abuses—commissioned Victor Horta to design his new townhouse. The programmatic requirements were, according to Van Eetvelde, "like those of everybody else. I have to entertain so I will need a large lounge, at least, and a dining-room as large as you can manage."[2] This was not as straightforward a directive as Van Eetvelde seemed to believe. Despite their exterior diversity, townhouses in Brussels tended toward virtually identical interior layouts; as the vast majority had deep, narrow footprints, the inability to take advantage of natural lighting anywhere other than the front and rear walls of the house made deviation untenable. It fell to Horta to find a way to break from the established modus operandi and satisfy his client's dream.[3]  The spatial prominence of the atrium, which also served as a light well and stairwell, is readily apparent in Horta's original plans for the ground and main levels. ImageOriginal drawing by Victor Horta  The spatial prominence of the atrium, which also served as a light well and stairwell, is readily apparent in Horta's original plans for the ground and main levels. ImageOriginal drawing by Victor Horta It was in solving this dilemma that Horta would create the grand architectural gesture for which the Hôtel van Eetvelde would come to be known. From a comparatively modest entryway, visitors proceed down a small corridor and ascend into a double-height octagonal atrium. This atrium, aside from acting as a point of entry and containing the house's main stairway, also serves as an ideal venue in which to receive guests – whether just a few casual visitors or a throng gathered for an important occasion. A ring of slender iron columns rises around periphery of the room, culminating in a dome of brilliant stained glass.[4,5] The light streaming in through the glazed ceiling onto iron pillars is reminiscent of a conservatory, an effect Horta reinforced with botanically-inspired ornamentation. Patterns in the stained glass give the impression that the top of each column fans out like a palm frond; the sinuous curves of the ironwork in the banisters are ferrous analogues for creeping vines.[6] As Belgium was an industrialized nation by the 1890s, the iron and steel it produced had already found use in many Brusselian houses as a means of widening window lintels. It was not until the advent of Art Nouveau, however, that it would find such open, sophisticated expression in architectural design – a hint of the Modernism underlying a style which was evidently preoccupied with imitating the natural world.[7] Branching off of the atrium was a series of spaces organized in a manner that echoed the ideals of 19th Century urbanism. Much like the city surrounding it, the Hôtel van Eetvelde was a mélange of picturesque, winding circulation routes and vistas onto the important spaces of the house. From the entrance at ground level to the reception area on the floor above, visitors must change direction six times, following the perimeter of the atrium as they ascend. The final course change offers an oblique view of the reception area, a common thread in Horta's circulatory scheme; few paths of travel in the house lead to a frontal view of walls or spaces.[8]  Courtesy of Wikimedia user Koenvde (Public Domain) With its profusion of false foliage, wrought of iron and captured in stained glass, the Hôtel van Eetvelde is not an obvious expression of Modernist leanings. Its luxurious, curvilinear ornamentation is a stark contrast to the functionalism of buildings like Le Corbusier's Villa Savoye, and even to the more streamlined Art Deco luxe of examples like the Chrysler Building; dependant as it was on industrial materials, it was highly individualistic and not easily adapted for widespread use. However, nothing like Art Nouveau had been seen before the late 19th Century. Like Art Deco and the later Modernism, it was a style born out of a rejection of the traditions that had been built up in Western architectural practice since the time of the Renaissance. That its inspiration came from nature does not change the fact that Art Nouveau, however short-lived its heyday, was the first step in the architectural direction that would ultimately be taken after the First World War.[9]  Courtesy of Flickr user T P (licensed under CC BY-NC-ND 2.0) Over a century has passed since Horta completed the Hôtel van Eetvelde in 1900, and yet despite the passage of time and its conversion to an office building, the house has been left almost completely unaltered. In 2000, the building was named a UNESCO World Heritage Site, along with three of Horta's most notable Brusselian projects: the Hôtel Tassel, the Hôtel Solvay, and his own home.[10] With this recognition and the protection it affords, this particular Hôtel will be preserved for the benefit of future generations who, rather than marveling at the novelty its interiors once possessed, will admire the lasting elegance of its graceful, unique design. References
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| Two-familiy Apartment Houses / Staehelin Meyer Architekten Posted: 31 Jan 2017 07:00 PM PST  © Staehelin Meyer Architekten
 © Staehelin Meyer Architekten From the architect. The main theme of the design is the juxtaposition of free-standing, sharp edged structures and lush vegetation, as found on site and in the neighbourhood. The positioning of the polygonal buildings at an angle to one another and on different levels opens up a shared, park-like outside space. Each unit enjoys varied views of the greenery, which envelopes both the buildings. Winding pathways lead up to buildings like trails through the high grass that also encloses the verandas.  © Staehelin Meyer Architekten  Ground Plan  © Staehelin Meyer Architekten In order to preserve the buildings' cube-like appearance and to stay on scale regarding the surroundings, it was decided to go without the penthouses. Instead, additional living space was created on the ground floor – large skylights in the hillside illuminate subterranean rooms and provide views of nature and the sky.  © Staehelin Meyer Architekten In the centre of the buildings there is a load-bearing core with the elevator and stairwell, onto which the functional rooms of the apartments are docked. To the outside, the living quarters are arranged sequentially along the facade.  © Staehelin Meyer Architekten  © Staehelin Meyer Architekten  © Staehelin Meyer Architekten Due to separate vertical connections between the rooms under and above ground, the units have the characteristics of single-family homes. This impression is furthered by the private outside spaces: ground floor units have verandas situated in front of the loggias, those on the upper floors have roof gardens. Because of the varying room heights on the floor below, these are slightly sunken and are contained by the building.  © Staehelin Meyer Architekten The buildings are characterised by a choice of untreated, high-quality materials. Oak wood, concrete, polished cast floors and varnished plasterwork boost the spaces' identity, showing the building materials without their typical cosmetic finish.  This posting includes an audio/video/photo media file: Download Now |
| Versluys / Govaert & Vanhoutte Architects Posted: 31 Jan 2017 06:00 PM PST  © Tim Van De Velde
 © Tim Van De Velde 'Groep Versluys' is a real estate group formed in 1908 that has built around 700 residences, ranging from villa's to exclusive residential projects, along the Belgian Coastline. A New headquarter with a distinct look was necessary for the further process of the firm. The headquarters are situated along the highway between Bruges and Oostende.  © Tim Van De Velde The first goal of the project was to build new offices for a branch of 'Groep Versluys'. The second and main goal of the projects consists in building a new landmark for the real estate group. The existing warehouse was renovated and covered with a long horizontal box and some rightly places vertical concrete walls. The entrance is hidden behind the concrete walls. On the ground floor, there is are two conference halls, a reception, a storage, a kitchenette, a lunch room and a sanitation.  © Tim Van De Velde The first floor contains the open office with the back offices, a kitchenette, a lunch room and the sanitation. The open office and dining room are connected with the outdoor space through a large terrace that overlooks the nature.  © Tim Van De Velde The main materials are aluminium panels, concrete walls and wooden slats. The building creates an interesting interaction with the surrounding that connects with their materials but stand out with their architectural composition.  Ground Floor Plan  © Tim Van De Velde  First Floor Plan  © Tim Van De Velde Product Description. - 'Groep Versluys' is a real estate group formed in 1908 that has built around 700 residences, ranging from villa's to exclusive residential projects, along the Belgian Coastline. A New headquarter with a distinct look was necessary for the further process of the firm. The headquarters are situated along the highway between Bruges and Oostende.  © Tim Van De Velde The first goal of the project was to build new offices for a branch of 'Groep Versluys'. The second and main goal of the projects consists in building a new landmark for the real estate group. The existing warehouse was renovated and covered with a long horizontal box and some rightly places vertical concrete walls. The entrance is hidden behind the concrete walls. On the ground floor, there is are two conference halls, a reception, a storage, a kitchenette, a dining room and a sanitary.  © Tim Van De Velde The first floor contains the open office with the back offices, a kitchenette, a dinning room and the sanitary. The open office and dining room are connected with the outdoor space through a large terrace that overlooks the nature.  © Tim Van De Velde The main materials are aluminium panels, concrete walls and wooden slats. The building creates an interesting interaction with the surrounding that connects with their materials but stand out with their architectural composition.  © Tim Van De Velde  This posting includes an audio/video/photo media file: Download Now |
| Veranda on a Roof / Studio Course Posted: 31 Jan 2017 02:00 PM PST  © Hemant Patil
 © Hemant Patil From the architect. Located on the roof of a 12 storey building of a duplex apartment, this space was conceptualized as a 'Veranda'. (Hindi meaning: A transitional space between public and private area or, between a house and a street). A concept, which conjures up an image of a welcoming social space meant for all.  © Hemant Patil Traditionally, verandas have always been an integral part of our homes. However, in recent years, to a certain degree forgotten and disappeared. A veranda was always an element, central to making our houses into homes, an accidental space for long conversations, a place for one to relax and unwind.  Plan "There's a special feeling you get on a veranda that you just can't get anywhere else." - Haruki Murakami. But, the 'Veranda on the Roof' is no accidental space. It is a space designed keeping in mind the family and their clear understanding of a special place they wanted to add to their home. A space crafted out from their lifestyle which revolves around books, food and plants. Hence, this 'Veranda on the Roof' houses a library and a pantry, which extend into a terrace, or in other words, parts of terrace which are covered to accommodate a reading nook and a pantry.  © Hemant Patil The design intends a play on the senses as one approaches the place through a wooden staircase from the living room below. The existing walls of the staircase were broken down and roof was created to open up the space and get better connection. This enabled us to make the Veranda into an extension to the main house below while allowing the two levels to engage in a dialogue.  Section Bold earthy undertones of the cement textured walls and Teak wood furniture are used to set the tone of this space. The roof library overlooks the terrace garden through a wooden glass paneled façade, which gives a notion of an enclosure that can open up completely, blurring the boundaries of the inside from the outside. This uniformity of space is also accentuated by the use of natural materials like cement plaster, teak wood, granite stone and brass metal which span inside as well as outside. The hand movement imprints on the cement plaster constantly give a sense of tactility of the process that has undergone to make its architecture.  © Hemant Patil The low-on-clutter, minimal furniture allows for easy movement. The library unit is designed to be understated in its form so as to consciously reduce its visual impact. A metal staircase hung from stainless steel wires on one end and anchored to a wooden beam on the other leads to a store room above. Here, the treads are designed in a way, so as to perfectly align with the shelves of the library unit. Similarly, a lot of elements such as the door handle, door stopper, tower bolts, drawer handles are custom designed to follow this language with the notion to fade away.  © Hemant Patil The fully equipped pantry on the terrace continues to have the same language where the thrilling idea of cooking outdoors is explored. Walking on the gravel produces a sound which triggers the memory of being in the outdoors. The gravel floor is used in parts across the terrace to heighten this tangibility. A reading nook, which sits along the water fall and a lotus pond within it, is a tranquil setting to indulge into a piece of literature with the garden partly screening it.  © Hemant Patil The veranda on the roof can not only overlook the exotic view of a race course but also be able to create a world within its own, where one can immerse and indulge in the pleasures of one's seeking. Veranda on the Roof turns as a refuge, where the shifting contexts have created new meanings.  © Hemant Patil Product Description: The principal material used largely for floor and walls is cement plaster also known, by its process as 'Ghotai' (Hindi meaning: constant movement of hand) used in traditional Indian houses. It is an extensive process of laying cement in layers with hand by the method of constant straightening and curing it with water. This material and natural process give warmth and earthy tone to the space designed and intended to turn as a refuge from its immediate environment. The hand movement imprints on the plaster along with the Teak wood carpentry, constantly give a sense of tactility of the process that has undergone to make its architecture.  © Hemant Patil  This posting includes an audio/video/photo media file: Download Now |
| Little Bao at 72 Courtyard / JJA - Bespoke Architecture Posted: 31 Jan 2017 12:00 PM PST  © Ketsiree Wongwan
 © Ketsiree Wongwan From the architect. Little Bao is about sharing - food, drinks and culture. Little Bao, a modern Chinese diner, is influenced by the international tastes of its hometown Hong Kong. Big on sharing and little on the Bao, it's an original take on classic Chinese comfort foods. From signature Chinese Bao burgers to a selection of sharing plates and original cocktails, Little Bao is always adventurous and playful - a fun and authentic cross-cultural eating experience.  © Ketsiree Wongwan Established in 2012, Little Bao served their first original Chinese Bao burger at Hong Kong's farmers' market. The 12-hour slow cooked pork belly Bao with homemade pickles, fresh shiso and leek salad topped with sesame mayo and hoisin ketchup sold out within hours of opening. The lines, and the cravings, haven't stopped since.  © Ketsiree Wongwan  Plan  © Ketsiree Wongwan In 2013, Little Bao opened its doors at the edge of Hong Kong's Soho district with a small, 20-seat diner. The menu expanded to include Chinese in uenced share plates such as braised short-rib dumplings, drunken clams, fried chicken with salted egg yolk alongside inventive cocktails such as Gin & Juice, Yuzu Leaf and Chris' Lemonade. Little Bao is now a favourite destination for local and visiting foodies from around the world.  © Ketsiree Wongwan  This posting includes an audio/video/photo media file: Download Now |
| Ashish Cherian Residence / Architecture Paradigm Posted: 31 Jan 2017 11:00 AM PST  © Anand Jaju
 © Anand Jaju From the architect. The site is a 10000 sqft plot laden with trees within a gated community. These kind of developments along the edge of the city offer low rise and tree laden surroundings as coveted luxury lifestyle venues. The plot is bound by roads on the eastern and southern edges. The longer edge of the site is along the eastern direction. The idea for this four bedroom house is about the negotiating the trees and using these conditions to bring about a sense of place. The central space of the site is occupied by a jacaranda, mango, chikoo and some teak trees.  © Anand Jaju Our intention of retaining them resulted in the reading of the site as three longitudinal spaces. The central space accommodating the existing trees was read as open spine which would help anchor the design to the site. Further programmatic bars were considered on either side of the open spine. One of them along the eastern edge addressed the familial needs of public spaces such as the living and dining. The other along the western edge was occupied by the more private bedrooms. Both these are connected by a space which is seen as the family space overlooking the central spine. These spaces are manipulated in section to address the ground plane.  © Anand Jaju As a result parking, servants, utility and an office is accommodated beneath the living and dining space. A multi-purpose space which is complemented by a bar is located beneath the bedrooms. This lends more privacy to the bedrooms and allows the multi-purpose space at the lower level to integrate with the surrounding landscape. The bedrooms are directed towards the central spine through balconies and windows while the access corridor to the bedrooms is pushed out to the outer edge buffering the space from the western sun. The terrace over the living and dining is designed as a garden.  Basement Floor The uppermost terrace accommodates a spa which has its own terrace garden flanked by canopy of the existing trees. The greening of terraces restores and adds to the existing verdure. The connecting space seen as a pavilion between the two bars expresses the intent of the project. The pavilion is edged by dark reflecting pool capturing the mango tree and the sky on one side while the other side it spills on to a deck sheltered by the jacaranda tree. The teak trees are allowed to penetrate through the structure space around it is used as decks for the bedrooms.  © Anand Jaju  Ground Floor  © Anand Jaju Each of the unique trees along the spine gets an identity owing to the spatial organization and the manipulation of surfaces and levels. Materials like limestone, wood and white painted surfaces are used to express the surfaces of the various planes which complements the surrounding greenery. While the wood is used as a screen wrapping around volumes filtering light and lending privacy, the lime stone and the white painted become animated surfaces as a result of play of light filtering through the trees on them reflecting the character of the site and surroundings.  © Anand Jaju  This posting includes an audio/video/photo media file: Download Now |
| Moustiquaire Maurel-Coulombe / Guillaume Pelletier Architecte Posted: 31 Jan 2017 09:00 AM PST  © Saul Rosales
 © Saul Rosales From the architect. Canards Maurel-Coulombe is an artisanal farm that produces the finest Foie Gras in Quebec.  © Saul Rosales The clients wanted to create a space where customers could have a total gourmet experience of duck foie gras. Foie gras is delicious, plain and simple. It is also a luxury food that has a long tradition.  © Saul Rosales Like a Japanese tea room, this project is a space where art, nature, tradition & gastronomy becomes one. The contemporary exterior screen porch is an extension of an old traditional wooden house.  © Saul Rosales The wood timber structure is placed in a way to make a visual connection between the farm and the products boutique. The tasting room faces the landscape from where you can see the ducks in the field. By night, the screen porch becomes a lantern.  © Saul Rosales Product Description: The traditional wood structure of the existing house becomes much more sophisticated with the glued-laminated timber structure used for the screen room. The evolution of the wooden structure through time is visible in the project. Tradition and Gastronomy go together at Canards Maurel-Coulombe.  © Saul Rosales  This posting includes an audio/video/photo media file: Download Now |
| Video: Dorte Mandrup Discusses the Wadden Sea Center and Expanding Construction Tradition Posted: 31 Jan 2017 08:00 AM PST
In this video from the Louisiana Channel, Dorte Mandrup discusses the design philosophy behind her firm's nearly completed Wadden Sea Center, a visitor's center located in within Denmark's largest national park. The design employs local construction traditions, creating a sculptural roof and facade from a modernized thatch roof system. Watch the video for more on how Dorte Mandrup Arkitekter approaches a design challenge, and how their buildings belong to their sites. Via Louisiana Channel. Dorte Mandrup Designs Wadden Sea Center for Denmark's Largest National Park  This posting includes an audio/video/photo media file: Download Now |
| University Psychiatric Centre / Stéphane Beel Architect Posted: 31 Jan 2017 07:00 AM PST  © Luca Beel
 © Luca Beel From the architect. The psychiatry building is part of AWG Architects' master-plan for the further development of the UZ Gasthuisberg campus. It is structured around an internal patio. The exentrically position of the patio allows the creation of different sections for large therapy rooms and for smaller spaces such as patients' rooms.  © Luca Beel The master-plan sets out measures to create an urban context, which include creating density and differentiation in the public space, and building a diverse range of streets and squares. This will enable the open 'green' zones around the site to be safeguarded.  Sketches The entire site is surrounded by a new ring-road, and a number of 'main streets' run through the site to create structure. The psychiatry building, designed by Stéphane Beel Architects, is located on the edge of this master-plan zone, in between the ring-road, the green zone and one of the main streets. The master-plan allows for a building volume of five storeys.  © Luca Beel The patio has been developed as a 'therapeutic landscape'. This 'landscape' is connected to every floor, so that patients can reach their therapy areas by passing through it. At the same time, it is a place for relaxation and informal contact between patients, visitors and healthcare professionals. On the third floor, this 'therapeutic landscape' culminates in a spacious terrace, which connects to the sports hall. From here, patients have a view out over the green zone and Leuven city centre.  Sketch The central patio is covered with a sliding greenhouse roof, which creates a tempered outdoor climate. This increases its potential uses, as well as having a positive effect on energy consumption.  © Luca Beel On the ground floor, adjacent to the main street, are the public functions: the reception area, consultation rooms, training and administration rooms. On the first, second and third floors are the hospitalisation units, together with their respective therapy areas. For structural reasons, the double-height sports hall is located on the top floor.  Ground Floor Plan Much thought has gone into choosing the right materials and decoration. Perforated glazed bricks and acoustically absorbent floors and ceilings have been used to create an acoustically pleasant environment. More specifically, the rubber tiles chosen for the patio floor meet both acoustic and other requirements (safety, look and feel, etc.).  © Luca Beel Look and feel studies were carried out for the entire interior decoration. A lively colour palette was created to complement the champagne-coloured masonry and it is by no means sterile. Although this is a hospital, the idea is to create an environment that feels both homely and safe. Based on detailed research, a standard room was designed with a colourful sliding partition to conjure up a homely atmosphere.  Section The advisory role played by Stéphane Beel Architects in the choice of the free-standing furniture ensured that the look and feel was implemented to maximum effect, and has resulted in a harmonious whole. Three oval green islands have been placed in the patio, which serve to bring it down to a more human scale. This design was created in collaboration with the garden architect Ludovic Devriendt.  © Luca Beel Product Description. The inner patio is surrounded by perforated brick-work. This material is absorbing and helps to avoid loud noises in the patio. In the whole building there was a lot of attention to acoustics. A crucial item to create a relaxing and tempering atmosphere.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 31 Jan 2017 05:00 AM PST  © Andrew Michler
 © Andrew Michler MARTaK Passive House is set in the Colorado Rocky Mountains at an elevation of 6800 feet. The small residence is the first certified international Passive House in Colorado and is built without foam products or other energy intensive materials.  © Andrew Michler During my research for my book Hyperlocalization of Architecture I was deeply moved by contemporary small Japanese architecture. Rather than design program around use I chose to keep the floor plan as open as possible. The space can adapt to large gatherings or intimate stays. The upper story space is acoustically connected to the main level via a net bed. This also provides a light well to reduce what could be a cramped interior.  © Andrew Michler Interior finish materiality is restricted to FSC plywood, cedar, tile, and plasterboard to emphasize light and space. A space saving staircase made from plywood boxes visually anchors the elongated living area. The second floor is supported by vertical and horizontal nail-laminated timbers.  © Andrew Michler  Plan  © Andrew Michler A wedge shape footprint improves solar exposure to the south and preserves three mature Ponderosa Pine trees adjacent to the building. The trees maintain the local habitat and provide critical shade in summer and early fall. The massing of the project is informed by local mountain formations called Hogbacks which have a steep uniform slope with a ridge of boulders. The east side, featuring an outdoor room, is reminiscent of a cabin which is reinforced by the wood exterior composed of cedar picket.  © Andrew Michler  Elevation  © Andrew Michler To reduce embodied energy and improve life cycle potential the envelope uses no foam products, relaying on mineral wool and cellulose for insulation, and studs and plywood for structure and the air barrier. Other material choices abide by cradle to cradle methodologies. The exterior wall cavity is covered with mineral wool board and fiber cement siding. In addition the steel roof and tempered triple pane windows provides fire resilience.  © Andrew Michler The home's heating energy consumption is 90% less than local code, and electrical use is also limited by the off grid solar power system. Quality of life is not restricted however as the highly insulated envelope and low power consumption equipment like the Heat Recovery Ventilator keeps occupants snug and with plenty of fresh air.  © Andrew Michler Product Description. The Intus U-PVC triple pane tilt and turn windows feature super spacers and high SHGC IGUs. The windows provide significant solar heat gains and minimizing heat losses while meeting critical minimum surface air temperatures required by the Passivhaus Institut. This allowed for liberal use of glazing to the south while maintaining energy load thresholds required for Passive House certification.  © Andrew Michler  This posting includes an audio/video/photo media file: Download Now |
| Soar Through MVRDV's Competition-Winning Zaanstad Cultural Center Design Posted: 31 Jan 2017 04:00 AM PST  © MVRDV MVRDV has released new renderings and a flythrough of their competition-winning design for a new cultural center in the city of Zaanstad in the Netherlands. Borrowing architectural motifs from the historic Zaan House, the design flips the traditional form inside out to create a new living room for the city. Inside, the building will become the new home of a film house, a library, a performing and visual arts centre, a pop music centre, a music school, a centre for design and a local radio station. Check out the video below.  © MVRDV  © MVRDV  © MVRDV Learn more about the project here: MVRDV Wins Competition to Design Zaanstad Cultural Cluster News via MVRDV.  This posting includes an audio/video/photo media file: Download Now |
| 4 Chinese Vernacular Dwellings You Should Know About (Before They Disappear) Posted: 31 Jan 2017 01:30 AM PST  © <a href='https://www.flickr.com/photos/justaslice/3051644043'>Flickr user Slices of Light</a> licensed under <a href='https://creativecommons.org/licenses/by-nc-nd/2.0/deed.en'>CC BY-NC-ND 2.0</a> Vernacular architecture refers to designs which find their primary influence in local conditions: in climate, in materials, and in tradition. In a country as diverse as China, with 55 state-recognized ethnic minority groups and widely varying climates and topographies, many different vernacular dwelling styles have evolved as pragmatic solutions that accommodate the unique needs and limitations of their sites. Rapid urbanization in China has favored high-rise apartment towers over traditional housing because of their ease of construction and the population density they enable, making vernacular dwellings increasingly rare throughout the country. Some firms, like MVRDV and Ben Wood's Studio Shanghai, have taken note of the many benefits that vernacular dwellings provide, and have created projects that attempt to reconcile tradition with urbanization. Even if you aren't planning on building in China any time soon, the following housing styles have much to teach about what it means to live in a particular time and place. This is by no means an exhaustive list, but it does encompass the main types of vernacular dwellings seen throughout China. Siheyuan © <a href='https://commons.wikimedia.org/wiki/File:Siheyuan_fukan.JPG'>Wikimedia user 用心阁</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> A prominent part of Beijing's culture, siheyuan are made up of four rectangular buildings arranged in a square to create an inner courtyard. They are set up for multi-generational living, with the rooms furthest from the street historically reserved for the family's daughters, who were once expected to remain inside the compound's walls. The main building housed the head of the household, leaving servants the smaller side quarters. The buildings' overhanging roofs provide a shaded courtyard, which has a similar program to that of a living room, and acts as a private outdoor space for the family.  © <a href='https://commons.wikimedia.org/wiki/File:Former_Residence_of_Hong_Jun_2012-03.JPG'>Wikimedia user 猫猫的日记本</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> Rows of siheyuan create alleys, called hutongs, that connect the city. Today, Beijing's siheyuan are often occupied by multiple families and are notorious for lacking amenities. Since the typical siheyuan is no more than two stories tall, the pressure of population density has made apartment blocks far more favored among developers and city planners, although some projects have attempted to create a sense of newness while maintaining the siheyuan-hutong design principles. Tulou © <a href='https://www.flickr.com/photos/justaslice/3051644039'>Flickr user Slices of Light</a> licensed under <a href='https://creativecommons.org/licenses/by-nc-nd/2.0/deed.en'>CC BY-NC-ND 2.0</a> The Southeastern province of Fujian is home to the tulou residences of the Hakka people. Compounded earth and wooden beams form thick, cylindrical walls that reach several stories high in a once-necessary effort to protect the interior from attack. The outward facing walls have only one entrance and no windows, and all balconies, doorways, and openings face inwards, further protecting the residents from potential danger. Each structure houses hundreds of people — an entire clan — and functions as a small village, with space for communal activities in the large, open interior.  © <a href='https://www.flickr.com/photos/justaslice/3051644043'>Flickr user Slices of Light</a> licensed under <a href='https://creativecommons.org/licenses/by-nc-nd/2.0/deed.en'>CC BY-NC-ND 2.0</a> Unlike the hierarchical structure of the siheyuan, individual residences within the tulou were divided equally: a reflection of the high value of community that can also be observed in the tulou's egalitarian round shape. In 2008, 46 tulous were designated as UNESCO World Heritage Sites because of their peaceful unity of defensive and residential architecture, and will be protected should their neighborhoods in rural Fujian ever become urbanized. Yaodong © <a href='https://www.flickr.com/photos/kattebelletje/3345410886/'>Flickr user kattebelletje</a> licensed under <a href='https://creativecommons.org/licenses/by-nc/2.0/deed.en'>CC BY-NC 2.0</a> Found in China's northern provinces, including (perhaps most famously) Shaanxi, the yaodong, or cave houses, use earth from the hillside as insulation to regulate temperature in harsh winters and summers. They can be carved into a hillside, dug into the ground to create a sunken dwelling, or built standalone by packing earth on top of a brick frame. Multiple dwellings are built adjacent to and on top of one another and together make up a tiered village, often for a single clan or extended family.  © <a href='https://www.flickr.com/photos/bickle107/4746326787/'>Flickr user Kelly Parker</a> licensed under <a href='https://creativecommons.org/licenses/by-nd/2.0/deed.en'>CC BY-ND 2.0</a> As more young people have moved into big cities in search of work, yaodong living has become less popular. However, the last decade has seen a newfound appreciation for the economic and environmental benefits of yaodong living, and NGOs have found some success in building and marketing new dwellings as green and efficient housing options. Shikumen © <a href='https://www.flickr.com/photos/bricoleurbanism/5780560536/'>Flickr user bricoleurbanism</a> licensed under <a href='https://creativecommons.org/licenses/by-nc/2.0/deed.en'>CC BY-NC 2.0</a> Unlike the siheyuan, tulou, and cave dwellings, which have been in existence for millennia, Shanghai's shikumen are a relic of the early 20th century, when Western influence from the French began to take hold of the city's architectural style. Rising no more than three stories, these wood and brick townhouses are built right next to one another within a stone gate. The rows of homes create a secluded lane, which has come to hold a distinctively Shanghainese way of life. Neighbors spend much of their time outside of the relatively small homes, and daily life—noodle making, clothes washing, card playing, coffee drinking, etc—moves into the lane, to be carried out with the community. Shikumen often bear large, ornamented door knockers and Art Deco flowers and geometric motifs indicative of Shanghai's Jazz Age.  © <a href='https://www.flickr.com/photos/wonglca/9692896852/'>Flickr user Lawrence Wong</a> licensed under <a href='https://creativecommons.org/licenses/by-nc/2.0/deed.en'>CC BY-NC 2.0</a> The low rise buildings once housed 60% of the city's residents, but many neighborhoods have been recently demolished by the state, which in exchange provides shikumen dwellers with compensation and housing in new apartment towers that, while economically efficient, do not accommodate lane life. For the average citizen, there is nothing to be done to stop or even delay the disappearance of the shikumen, but projects like Sue Anne Tay's Shanghai Street Stories and Richard Liwei Huang's Cardboard Shikumen fight to preserve the memory and design of the housing through documentation, storytelling, and VR.  This posting includes an audio/video/photo media file: Download Now |
| TinkerBox / Studio MM Architect Posted: 31 Jan 2017 01:00 AM PST  © Brad Feinknopf
 © Brad Feinknopf From the architect. Nestled in the woods of Hudson Valley, this house was conceived as a car-lover's dream retreat. A generously sized garage is the locus of the design, generating space for car storage and maintenance as well as a spacious wine cellar and a furniture workshop. The rectangular form of the house, which is partially embedded in the hilly landscape, emerges from the lower-level garage and creates an open plan living space ideal for entertaining, relaxing by a cozy fire, or creating a home cooked meal.  © Brad Feinknopf The exterior cladding gave us a special chance to join in on the build process. We researched the Japanese technique of charring wood called shou sugi ban and decided that it was something we wanted to tackle on our own. Working with premium cedar siding, we charred and finished the wood prior to installation, giving it a unique and durable finish. Inset gutters maintain the sleek silhouette of the house while retaining full functionality.  © Brad Feinknopf Upon approach to the house, visitors are greeted by a cantilevered entryway and an impressive twelve-foot mahogany pivot door and double height entryway. The exposed concrete wall extends from the exterior, and the continuous wood beam structure of the cantilever pulls the eye up and through the space. The stair, with solid wood treads made from hardwood trees formerly on the house's site, draws guests to the main living level and bridges the private and public sections of the house.  Floor Plan The open-plan living space is anchored by an expansive window seat that provides a cozy reading nook next to the next to the built-in fireplace, while a waterfall-edge marble island graces the room with added elegance. The handcrafted concept is further embraced through the furniture and furnishings. The dining room table, a design by architect, built by craftsman collaboration between Studio MM and Elijah Leed, is accented by a Studio MM designed brass chandelier. In the master bedroom, we constructed a built-in headboard and crafted custom linen curtains.  © Brad Feinknopf The cantilevered roof from the front entry extends through to the rear of the house to shade an exterior deck. The furniture-finish plywood clad structure is supported by a single cantilevered beam anchored to the exterior fireplace. Stainless steel detailing accents both fireplaces, providing wood storage space on the exterior and additional warmth for the hearth on the interior. The furniture studio below the deck is accessed via a custom oversized bi-fold door.  © Brad Feinknopf The house's simple footprint and partially submerged lower level begin to speak to its efficient design. During the summer, concrete floors and exposed concrete walls keep the first floor cool while the covered deck and strategically placed windows on the second floor provide passive cooling for the flexible entertaining space.  © Brad Feinknopf True to its concept, purpose and program, this house is all about curating specific and unique design moments and providing hands-on learning experiences. Studio MM prides itself on creating homes that engage the client, highlight contemporary design, showcase local artisans, and emphasize high quality detailing and craftsmanship: TinkerBox embodies these qualities.  © Brad Feinknopf Product Description. One of our favorite design moments in TinkerBox the comfy and warm window seat, was created by using the Morso 5660 Insert Stove and Marvin Casement Windows. We've found that Morso offers the best quality and most efficient wood burning fire stoves available in the United States. Made from thick cast-iron, Morso wood stoves retain their heat for longer than most standard stoves made from thinner materials. For TinkerBox, we decided to use an insert style wood stove rather than a freestanding model in the living room. Recessing the stove into the wall creates a sleek modern look complimenting TinkerBox's contemporary design. Combining these two products created a continuous corner window with the warmth of the built-in fire stove at the back of the window seat. The home's raised presence on the site creates a superior vantage point from the window seat, making it a wonderful place to experience the beauty of the changing seasons.  This posting includes an audio/video/photo media file: Download Now |
| The Most Beautiful Visual Compositions From The Simpsons Posted: 31 Jan 2017 12:00 AM PST If you’re a true Simpsons fan, you know there is a Golden Age in which every single episode does not only parody our society, but is filled with film tributes and sexual innuendos that we remember to this day. From a faith-versus-science conflict (Lisa the Skeptic, 09x08) to the impact of online fake news (The Computer Wore Menace Shoes, 12x06); from Populism in Urban Policy (Marge vs the Monorail, 04x12) to its well-known predictions like the rise of Donald Trump to the presidency of the United States (Bart to the Future, 11x17), the show has a knack for providing the social commentary we didn't know we needed. We had yet to notice, however, just how beautiful some of the visual compositions delivered by the show’s best episodes truly are: Springfield’s ever-changing skyline; the axonometric views that reflect the loneliness experienced by the characters; or the point-perfect generic recreational facilities that every city has.  This posting includes an audio/video/photo media file: Download Now |
| Explore Budapest's Art Deco and Bauhaus Staircases Through This Photo Series Posted: 30 Jan 2017 10:00 PM PST Fine arts and commercial photographer Balint Alovits has released Time Machine, his latest photo series documenting Art Deco and Bauhaus staircases throughout Budapest, Hungary. Shown from the same central perspective, the photographs "create a new dimension by splitting space and time, staying within the visual limits of the project's concept, while the perception of the architectural details evokes the idea of infinity." "I have always liked Art Deco and Bauhaus buildings," said Alovits. "Whenever I step into one of these caracoles, I feel a certain pulling energy looking up from the bottom or down from the top. I wanted to collect and showcase all the different shapes and colors that these stairways feature."  © Balint Alovits  © Balint Alovits  © Balint Alovits  © Balint Alovits  © Balint Alovits  © Balint Alovits "After some time, you develop a sixth sense for it—if you come across ornate front doors or large glass paneling, there's a good chance there's something to see inside, too."  © Balint Alovits  © Balint Alovits  © Balint Alovits  © Balint Alovits  © Balint Alovits  © Balint Alovits  © Balint Alovits "Looking at these spiral forms from a different perspective evokes the idea of an infinite vortex that feels out of this world."  © Balint Alovits  © Balint Alovits News via: Balint Alovits.  This posting includes an audio/video/photo media file: Download Now |
| A Tilting Horizon: Reflecting on 50 Issues of VOLUME and What's Yet to Come Posted: 30 Jan 2017 08:00 PM PST In this editorial from VOLUME's milestone 50th issue, Arjen Oosterman—the magazine's Editor-in-Chief—reflects on over ten years of cultural production and discourse and outlines what is to come. ArchDaily will be sharing a selection of the articles from this issue over the coming weeks. Moving forward implies looking back. When we started this research engine called VOLUME in 2005, economic, political, and social conditions were very different to how they are today. The intention to rethink the agency of 'beyond' as driver for change inevitably means historicizing the trajectory of the VOLUME project so far. That said, we really didn't want to turn VOLUME itself into the subject of reflection. So we'll instead talk about the present and, in so doing, find history creeping its way in whether we like it or not. 
In 2005, when VOLUME began, the notion of 'going beyond' was able to be introduced as a much needed upset of the (by and large) self-indulgent situation that western architecture found itself in; in other words, an escape route worth exploring. But where are we today? The present condition is so surprising and confusing, so disturbed and hilarious, so 'beyond' in many ways that longing for some stability, and asking for certainty and confirmation, might seem a fair reflex. Shouldn't we just stop questioning, stop moving into ever more uncharted territories? The very asking of the question is begging the answer: of course we will continue to.
Perhaps one example suffices to make the point. On page 49 you'll find a photo that embodies some dilemmas involved in observing spatial realities. It sums up a quest that architecture and urbanism have been occupied with during the last hundred years. The Modernist apartment building adjacent to what could be described as a favela or shantytown was the emancipating alternative to the poor living conditions existing literally next door. It took a couple of decades to discover that this alternative, this recipe to cure society and the city in particular, was not without flaws. And it took another couple of decades to become aware of some qualities of the bidonville that the Modernist high-rise simply couldn't provide. This observation may lead us to a simple conclusion: flat = wrong, slum = good. Well, maybe not. Perhaps this is the point at which VOLUME wants to step in in order to ask us to stop romanticizing and to begin a discussion on cultural identity and economic stability as prerequisites for at least a minimum level of fairness and equality. We cannot get rid of these notions – fairness and equality – of engagement, and, put simply, we don't want to.
The VOLUME project has been an exercise in lateral thinking as an effective means to an end. Today that requires a different method. We'll still go 'beyond' but, instead of scanning wide, we'll rather be drilling deep. To mark this shift in orientation, we'll stop using 'beyond' as denominator of VOLUME's themes. We'll take a bit more 'drilling time' in order to explore the themes that we identify as relevant in depth, and expand our package of actions and interventions.* Information is everywhere and this world is a complex one; to make sense out of it is the rarer good. Stay tuned. * in 2017 VOLUME will produce two issues.  Courtesy of VOLUME Magazine Table of Contents
Volume is an independent quarterly magazine that sets the agenda for architecture and design. With going beyond architecture's definition of 'making buildings' it reaches out for global views on designing environments, advocates broader attitudes to social structures, and reclaims the cultural and political significance of architecture. Created as a global idea platform to voice architecture any way, anywhere, anytime, it represents the expansion of architectural territories and the new mandate for design.
 Volume #50: Beyond Beyond (January 2017)  This posting includes an audio/video/photo media file: Download Now |
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