Arch Daily |
- Paço de Vitorino Hotel / PROD arquitectura & design
- Hill Lodge / SOOK Architects
- Watch Rem Koolhaas Present S,M,L,XL at the AA in 1995
- An Eco-Village for Orphaned Kenyan Children - Competition Winners Announced
- Winning Proposal to Define Jurong Lake District as Singapore’s Newest Business Hub
- Casa no Arroio Pelotas / Rmk! Arquitetura
- Eleven Practices to Complete $2 Billion Waterfront Development in Washington D.C.
- A Look at Pierre Chareau, the Mysterious Man Behind the Maison de Verre
- Ode to Pioneers - A Vision For The 'House of Delft' Mixed-Use Hub
| Paço de Vitorino Hotel / PROD arquitectura & design Posted: 11 Feb 2017 06:00 PM PST  © João Morgado
  Level 0  From the architect. Paço de Vitorino is a manor house located in the north of Portugal that has been in the same family since the mid-16th century. It's history is marked several relevant events. The most outstanding dates from the mid-18th century when a major intervention occurred according to baroque canons. The resulting structure is characterized by a three stories main house on the east side, two lateral wings on the north and south side and a small chapel along the entrance wall on the west. These elements delineate a central large yard defined by adorned facades.  Before Intervention. Image © João Morgado  © João Morgado  During Construction  © João Morgado The project proposed a deep rehabilitation of the existing structure and its adaptation to a 15-room hotel, to distribute along the main house and the wings. The scale of the baroque garden on the south, with its tanks and statues considered of unusual value in a private context, justified the creation of a historic garden interpretation centre to be displayed above archaeological findings on the basement.  © João Morgado  © João Morgado  © João Morgado  © João Morgado The project encountered a number of challenges due to the need to introduce new elements to solve the programme: 1 passageway to provide an indoor link on the main floor of the hotel through the courtyard, between the drawing room and the rest of the spaces. This was achieved by designing a delicate timber and glass structure inspired by on-site references; 15 openings to connect the wing's bedrooms to the baroque garden on the south and the fields on the north. These openings that tear up thick and long walls, look for a certain neutrality through vertical glass panes, recessed in metallic frames and disposed according to a regular rhythm; and 12 wooden modules to provide the framework for the required technical features in spaces of considerable amplitude, both in the wings and in the main house. These elements were placed strategically at a distance from walls and ceilings to simultaneously frame the features, organize the programme and enhance the surrounding space.  © João Morgado  © João Morgado  This posting includes an audio/video/photo media file: Download Now |
| Posted: 11 Feb 2017 12:00 PM PST  © Spaceshift Studio
 © Spaceshift Studio From the architect. Originally, the resort was a gathering place for Mr.Chalaluck Bunnag's family. It consists of 2-3 bungalows and a hut as it is being used for a house party. Due to its good atmosphere, good food and most of the owner's visitors like to visit there; the site had been redeveloped into a resort.  Site Plan In Phase 1, the firm had been assigned to design a main (restaurant-lobby-office), 4 bungalow suites, a three-bedroom family bungalow and 2-3 houses for employees and their families.  © Spaceshift Studio Completion of Project: The project started by pulling down the decayed hut and rebuilt it as a restaurant. It was located on the same spot which was a good place to greet visitors and to capture a wider angle of view. The new building kept the original design of the old hut which reflected northern Siamese vernacular architecture of hill tribes looks but with a larger space.  © Spaceshift Studio  © Spaceshift Studio The layout of the buildings was done by a carefully planned survey grid and precision positioning in order to design and locate the buildings to accommodate existing trees such as Longan tree and Wild Himalayan Cherry:Prunus, and to create multi- viewpoint architectural design.  © Spaceshift Studio INDUSTRIAL + VERNACULAR Liked Glenn Murcutt's working technique on remote sites. Architects and the main contractor had to do wood work workshop with local carpenters who were going to carry on the project before to finish the final architectural construction drawing which very help long distance communication with no internet signal (The site is located on the hill which far from town) and different language architect, the builders and carpenter who speak local tribes language). Because the site was located on a hill steep slope, it was difficult to transport building materials to site. Therefore, the building construction process involved the use of dry process materials, such as structural frames, roof and wall. The main structure of the building, columns and beams were made of small steel members, which allowed a long span structure and cantilever and blended in with other raw materials, such as wooden wall and wood shingle. Load-bearing columns of the balcony of the restaurant and the bungalow suite were designed to have a v-shaped in order to make buildings feel lighter and more dynamic. The advantage of using steel structure on a hill slope was that it was very convenience for the construction workers to carry a piece or two to the site which made the building finished faster and in a short time period. Wall, Flooring and Roofing were made from wood which developed with local craftsman ship skill.  © Spaceshift Studio  © Spaceshift Studio  © Spaceshift Studio  This posting includes an audio/video/photo media file: Download Now |
| Watch Rem Koolhaas Present S,M,L,XL at the AA in 1995 Posted: 11 Feb 2017 09:00 AM PST Posted on the OMA website with the description, "Presentation on how S, M, L, XL intends to both undermine and simultaneously reinforce architecture," this lecture delivered by a then-51-year-old Rem Koolhaas delves into the "intentions" behind the 1400-page behemoth monograph. The Dutch architect laments that he must spoil the experience of the book's nuanced relationships and surprises, stating "I'm exposing connections now that I would have preferred to remain hidden for you to discover or ignore."  S, M, L, XL is a strange animal: a linear text that is meant to be read non-linearly. It begins with a "disclaimer," which, among other things, states that "The book can be read in any way." You can begin anywhere and be selective. And yet, while the parts of the book are autonomous, they never escape the binding context of the other autonomous parts. The book adopts the complex programmatic needs of a large, multi-functional building, and includes information not limited to OMA's built work. Poems, cartoons, letters, film stills and advertisements fill the pages that separate the projects from one another. A dictionary nourished by excerpts of novels, advertisements and newspaper articles runs across the entirety of the book and provides cultural-contextual information for the office's built and unbuilt projects.  Despite its heft, S, M, L, XL presents only a selection of OMA's work. When asked about the criteria for inclusion of projects in an interview with Dutch architecture journal Archis, Koolhaas responded that the book "contains nothing I don't find interesting, and everything it doesn't contain is not, to my mind worth showing or mentioning." Note: I wrote about OMA's publications and how they fit into the larger narrative of disseminating architecture and design information in a 2007 research project titled Redefining The Monograph: The Publications of OMA and Rem Koolhaas. 17 Excerpts from OMA Publications To Read and Download  This posting includes an audio/video/photo media file: Download Now |
| An Eco-Village for Orphaned Kenyan Children - Competition Winners Announced Posted: 11 Feb 2017 08:00 AM PST  Orphanage Home Courtyard. Image Courtesy of ClarkeHopkinsClarke The One Heart Foundation has announced the winners of the Children's Eco-Village Design Competition. Attracting 45 submissions from 21 countries, the brief asked participants to propose an environmentally-friendly campus for orphaned and abandoned children, to be built in Soy, Kenya.  Approaching the school drop-off. Image Courtesy of ClarkeHopkinsClarke The competition was won by Malaysian entrant Poo Liang Edric Choo and his team from Malaysian firm O2DA. His proposal across the eight-acre property will provide a home for 100 orphaned children, education for 500, skills training for the local community, an income-generating eco-farm, and 50 local jobs.  Income-generating eco-farm. Image Courtesy of ClarkeHopkinsClarke Choo's design embraces vernacular architecture and local materials, and was praised by the judges for its aesthetic beauty and functionality. The designer's intent was to demonstrate how architecture can go beyond good design, and positively contribute to people's lives and living conditions.  School Courtyard. Image Courtesy of ClarkeHopkinsClarke
 Aerial View. Image Courtesy of ClarkeHopkinsClarke Second place was awarded to Suzy Syme from Australia, whilst third place was awarded to Sunjana Thurumala Sridhar of the United States. As the competition winner, Choo will now work with Melbourne-based firm ClarkeHopkinsClarke to realize the scheme, with work commencing in early 2018.  School Building Section. Image Courtesy of ClarkeHopkinsClarke News via: ClarkeHopkinsClarke.  This posting includes an audio/video/photo media file: Download Now |
| Winning Proposal to Define Jurong Lake District as Singapore’s Newest Business Hub Posted: 11 Feb 2017 06:00 AM PST  © KCAP, SAA, Arup, S333, Lekker The Singapore Urban Redevelopment Authority (URA) has selected KCAP Architects&Planners as the primary consultant to develop Singapore's Jurong Lake District, leading a varied design team that includes SAA Architects, Arup, S333, and Lekker. Submitting a dense, commercial mixed-use concept masterplan centered around a new high-speed rail (HSR) terminal in Singapore, the team's intention was to facilitate the Jurong Lake District's progress as a 'district of the future', as well as creating the country's second Central Business District. Waterways and a variety of landscaped green spaces were also key components of the proposal, giving the area a striking identity.  © KCAP, SAA, Arup, S333, Lekker Situated in the west of Singapore, the Jurong Lake District is part of "the URA's decentralization efforts to create new commercial activities, amenities and recreational facilities outside the Central Area of Singapore," according to KCAP. Specifically, the planned business sector, Lakeside Gateway, will serve to connect the district to Malaysia's capital, Kuala Lumpur, as a result of the future HSR system.  © KCAP, SAA, Arup, S333, Lekker Having been selected for their winning proposal, the team will now work with the URA to create the district's comprehensive masterplan and will showcase their progress to the public mid-2017 for further refinement. News via: KCAP Architects&Planners. Winning Proposal for Finland Bay Masterplan Transforms Industry into Innovation  This posting includes an audio/video/photo media file: Download Now |
| Casa no Arroio Pelotas / Rmk! Arquitetura Posted: 11 Feb 2017 05:00 AM PST  © Marcelo Donadussi
 © Marcelo Donadussi  Roof Plan From the architect. This house is located on a plot by the banks of a river (Arroio Pelotas) in Pelotas – RS – Brazil. The extensive depth of the terrain (20 m x 80 m) was paramount in the first assumptions regarding the project, as the best visual, the one by the river, was distant from the frontage. Therefore, the house was conceived in a linear plan, where one can transit from more opaque areas in the frontage, to large social glazed areas at the back, which were planned to be integrated with the river.  © Marcelo Donadussi Walls, built using stones from the area, not only emphasize the horizontality, but also divide the house into two different areas, social and service.  © Marcelo Donadussi Apparent concrete cantilevers and pergolas were used to allow a greater integration between the interior and the exterior, creating shaded social areas.  © Marcelo Donadussi The double height ceiling and inner courtyard allow higher thermal comfort, offering adequate insolation and cross ventilation. Bedrooms are located in the second floor and are protected by bifold doors, which allow ventilation and transparency to be controlled.  © Marcelo Donadussi The master suite has an integrated balcony with a view to the river, being the view framed by an apparent concrete shell.  Cortes  This posting includes an audio/video/photo media file: Download Now |
| Eleven Practices to Complete $2 Billion Waterfront Development in Washington D.C. Posted: 11 Feb 2017 04:00 AM PST  via Wharf DC Facebook Eleven of the United States' most prestigious architects have been selected by developers Hoffman-Madison Waterfront (HMW), to commence Phase 2 of The Wharf, a $2 billion neighborhood situated on the southwest waterfront of Washington D.C. The development is adjacent to the National Mall, spanning 24 acres of land and 50 acres of water. "We have selected a diverse group of locally, nationally, and internationally renowned designers, knowing they will bring their talent and expertise to The Wharf, building a waterfront neighborhood that is an integral part of the city," said Shawn Seaman, principal and Senior VP of Development at PN Hoffman.  via Wharf DC Facebook In addition to Phase 1, which is set to open later this year in October, Phase 2 comprises of 1.2 million square feet of mixed-use development that includes parks and green space, along with commercial, residential, marina and retail space, expected to be complete in 2021. The selected firms and their associated roles are: Perkins Eastman DC: Master Planner & Master Architect Headed by Stanton Eckstut, Perkins Eastman will be responsible for further progress on The Wharf's original master plan, as conceived by Eckstut, who will continue to guide the neighborhood's look and feel as master planner. The firm began work on the project in 2008 and is also responsible for all of Phase 2's infrastructure and underground parking. Notable projects include New York's Battery Park City and Huishan North Bund in Shanghai. SHoP Architects: Parcel 6 & 7 Office Given their wealth of experience in waterfront projects, including the Pier 15 East River Waterfront, SHoP will be designing two office towers and their corresponding retail space. The practice is renowned for its advanced office design, and is currently designed the 43,000 square foot Uber Headquarters in San Francisco, as well as the 1,000,000 square foot Midtown Centre in Washington. The firm has received Smithsonian/Cooper Hewitt's "National Design Award for Architecture". WDG Architecture: Parcel 6 & 7 Office Based in DC, WDG will work in collaboration with SHoP as Architects of Record in the design of Parcel 6 & 7 towers. Since 1938, the practice has designed over 500 buildings across a variety of typologies, including commercial office, multifamily residential, hospitality, higher education and mixed-use. Currently, WDG is also involved in the design of the Midtown Centre, and in Phase 1 was responsible for the VIO and Incanto residences, to be completed this year. ODA: Parcel 8 Multi-family Apartment ODA will design mixed-income apartments and additional retail spaces planned for Parcel 8. The young practice was founded in 2007, and has since rapidly developed a reputation for its innovative designs, focusing on social responsibility the modem urban setting. Notable projects include the National Library of Israel, the adaptive reuse of 15 Union Square West and the award-winning Hunters Point South, which was New York's largest affordable housing project in forty years. Rafael Viñoly: Parcel 9 Condominium Residences With a variety of buildings across six continents, Rafael Viñoly Architects is a highly acclaimed global firm, whose work includes museums, academic institutions and performing art venues. Having previously completed numerous luxury residential projects such as 432 Park Avenue and One River Point, the practice will be responsible for the design of luxury condominiums in Phase 2. Morris Adjmi Architects: Parcel 10 Office New York based Morris Adjmi Architects will design the Parcel 10 commercial office, having previously completed related projects for Samsung and Theory. With its modern use of materials and industrial forms, the practice has become iconic in New York over the last 20 years and continues to develop on a national scale. The District has also recognized the architects for their work with the Atlantic Plumbing housing development.  © Wharf DC STUDIOS Architecture: Live-aboard Marina Services Specializing in civic, mixed-use and workplace design, STUDIOS is set to complete a multi-purpose marina services building for The Wharf. Since its inception in 1985, the firm has become increasingly well known for the melding of core building with interior spaces in order to redefine building usage, and has as a result won numerous awards. Hollwich Kushner (HWKN): Wharf Marina Selected to develop the marina, Hollwich Kushner is a prominent practice out of Lower Manhattan, and are winners of the acclaimed MoMa/PS1 Young Architects Program with their design of Wendy. The practice's former clients make a diverse group, including Vornado, WeWork, Uniqlo, and the University of Pennsylvania. S9 Architecture: Wharf Marina Operations and Cantina Marina Pier S9 Architecture views each project within its overarching urban surroundings, combining this contextual approach with modernity to create ideal spatial experiences for users. The firm has completed mixed-use, cultural, residential, commercial, and adaptive reuse projects, and is currently working on Dock 72 and Empire Stores in Brooklyn, the New York Wheel on Staten Island, and 606 Broadway in Manhattan. Other completed projects include Ottawa's Lansdowne Park and the Industry City Master Plan for Brooklyn. Michael Van Valkenburgh Associates (MVVA): M Street Landing MMVA will be responsible for M Street Landing, an outdoor public space connecting the waterfront to Arena Stage. Having experience with the designs of Hudson Park and Boulevard, as well as the popular Brooklyn Bridge Waterfront Park, the firm derives inspiration from rational and poetic elements of landscape to connect with and design for their users. Wolf | Josey: Public Space Design Wolf | Josey Landscape Architects were central to Phase 1 of The Wharf, leading the planting and detailing of the promenade, and both ground-level and rooftop public spaces. The firm has worked on various DC-based landscape projects and notable designs include the National Zoo's Asia Trail, and Waterfront Park.  via Wharf DC Facebook The designers and architects responsible for Phase 1 of The Wharf include: Ehrenkrantz Eckstut & Kuhn; Perkins Eastman DC; Kohn Pederson Fox, Fox Architects; Rockwell Architecture, Planning, and Design; BBG-BBGM Architects; Handel Architects; WDG Architecture; SmithGroupJJR; SK&I Architectural Design Group; MTFA Architecture; Cunningham Quill Architects; McGraw Bagnoli Architects; ZGF Architects; Nelson Bryd Woltz, Landscape Architecture Bureau; Michael Vergason Landscape Architects; Lee and Associates; and Moffat & Nichol. More information about The Wharf can be found here. News via: S9 Architecture Massive Waterfront Redevelopment Receives Green Light in Washington D.C.  This posting includes an audio/video/photo media file: Download Now |
| A Look at Pierre Chareau, the Mysterious Man Behind the Maison de Verre Posted: 11 Feb 2017 01:30 AM PST  Pierre Chareau (French, 1883-1950) and Bernard Bijvoet (Dutch, 1889-1979), Maison de Verre, 1928-1932. Image © Mark Lyon This article was originally published on Metropolis Magazine as "New Retrospective Glimpses the Man Behind the Maison de Verre." Pierre Chareau was an architect whose buildings have almost all been demolished; an interior designer whose designs have all been remodeled; and a film set designer whose films you cannot see. These are not the most auspicious circumstances on which to mount a retrospective, but an ongoing exhibition at the Jewish Museum, imaginatively designed by Diller Scofidio + Renfro (DS+R), attempts it nonetheless. Chareau, who is best known for his one surviving building, the Maison de Verre in Paris, defies neat classification. Without any sort of architectural training, he worked briefly as a furniture designer for a British firm then struck out on his own, creating an idiosyncratic corpus of furniture, interior designs for life and cinema, and even several homes.  Rendering highlighting exhibited sofa and chairs, designed by Pierre Chareau, in the virtual reality context of the grand salon of the Maison de Verre. Image Courtesy of Diller Scofidio + Renfro He emerged amidst many different rising aesthetic channels—from which he borrowed and emulated—without ever belonging to any. As exhibition curator Esther da Costa Meyer notes in a catalogue essay, Chareau had "an unparalleled ability to hold seemingly incompatible uses in tension: rare woods, prohibitively expensive and polished to enamel-like surfaces, juxtaposed without transition to rough-hammered components in wrought iron." In a single piece, opulent fabrics could sit next to machine-age metals; in a room, plush sofas could be paired with harsh tables. He melded products of the factory and the artisan as if they were natural, or at the very least, unavoidable companions. Da Costa Meyer characterizes his work as a "confrontation with the very discontinuities of an era in which craft was giving way to assembly-line production," and it often gleefully denies the contradiction.  An installation view of the exhibition Pierre Chareau: Modern Architecture and Design. The exhibition design was executed by Diller Scofidio + Renfro. Image Courtesy of Will Ragozzino/SocialShutterbug.com His pluralist ethos unfolded quickly over a condensed time frame—only about 13 years—in a career curtailed twice, first by the 1929 worldwide economic crash that robbed Chareau of most of his clients, then by the imminent Second World War that robbed him of his Parisian home. As a Sephardic Jew, Chareau, with his wife Dollie, fled Paris ahead of the German invasion and set out for New York. They brought portions of their estimable art collection, often selling pieces to sustain their new life in America. Pierre Chareau: Modern Architecture and Design, the first U.S. exhibit on the designer, reassembles some of that collection, along with a variety of furniture pieces, many of them on loan from the Centre Pompidou.
The Maison de Verre notwithstanding, Chareau's design legacy lives on in his furniture pieces, of which a fair number survive and are well-represented at the Jewish Museum. While individually arresting, these pieces, ranging from velour sofas to amaranth and iron desks to alabaster lamps, are inadequate in their isolation; they do not make for a full reading of a man whose professional title was "ensemblier"—a term more euphonious and inclusive than "interior designer." Chareau did not seek to merely fill space but to shape entire environments. Architect Liz Diller, remarking on the exhibition design, underscored this facet of Chareau's designs: When removed from their original configurations, the pieces "lose their relationship to space, to architecture, to function." They become, Diller added,"truly orphaned."  Chareau is largely remembered for his Maison de Verre in Paris, but his legacy also rests on a series of splendidly diverse furniture designs. Image Courtesy of Will Ragozzino/SocialShutterbug.com In order to avoid this displacement, the designers looked to the period rooms at the Met, which for Diller can "transport museum visitors in time and space." These, however, would be practically impossible to replicate in the small galleries at the Jewish Museum, and so DS+R's expedient was virtual-reality headsets—not to supplant but to accentuate reality. Chareau's furniture pieces are arranged in four clusters in an inner gallery, which turn into immersive panoramas once the visitor dons a headset. These recreate the garden and a room at the Maison de Verre. The effect, like most virtual reality, is mesmerizing if not exactly transporting—more akin to stepping into one of the gaudy pochoir or gouache prints of Chareau's ensembles than into the actual rooms themselves. Still, the approach succeeds in providing a sense of just how uniquely Chareau arranged domestic life.  The exhibition highlights Chareau's varied output, in particular his furniture designs. Image Courtesy of the Jewish Museum Press Office The interior of the adjacent gallery features Chareau's furniture, which doesn't require VR embellishment to impress. These pieces are prodigiously varied, sometimes elementarily stark, sometimes unapologetically sumptuous. They're also occasionally confusing. (Diller: "Chareau was always a hero of mine when I was in school—I could never quite figure him out.") There are Art Deco elements, vague Japanese influences, traces of Chippendale—you could name hundreds of influences without ever quite summing up his catalogue. Da Costa Meyer notes Chareau's masterful touch both working with and combining "exotic woods such as amaranth, ebony, rosewood and Macassar." He was more than happy to fell both rare forests and rare beasts in his designs—ivory and sharkskin crop up, but metals are also legion.  DS+R's exhibition design employs VR to put the visitor inside the eclectic rooms Chareau designed to show off his furniture pieces. Image Courtesy of the Jewish Museum Press Office "Kinetic" is a term often applied to Chareau's furniture: some move and many look as if they'd like to. He had no interest in segregating programmatic functions. For instance, he would hitch a phonograph to a desk like a sidecar, attach swiveling tables to bookcases and sofas, even add adjustable leaves to a smoking table. Nothing was too small for Chareau's meticulous design attentions, as these and other examples in the exhibit show. Letter holders, ashtrays, a fruit display stand—all these everyday items fell within his purview. His lighting pieces are especially remarkable. Most, in fact, forsake lampshades altogether for sculptural alabaster arrangements that diffuse light.  When it comes to the Maison de Verre, the show uses video and scanning technologies to bring the famous—and famously difficult-to-visit—house to life. Image Courtesy of the Jewish Museum Press Office But on to the Maison de Verre, here innovatively represented beyond the typical tired triangulation of photos and models. One room features a map of the house's lower level on the floor, and a moving double-sided screen above. The screen moves back and forth over the map, displaying the vertical dimensions of whatever portion of the house it's over, with rooms outlined and colorized to attract attention.
Projections on other walls feature actors navigating through and using these highlighted rooms in very practical ways. It's somewhat like Peter Greenaway's installation art (complete with some near-nudity), producing a very welcome and almost hypnotic sense of how this odd building works.  The second-floor balcony of the house that Pierre Chareau designed for Robert Motherwell in East Hampton, New York, 1947. Image Courtesy of Miguel Saco Furniture and Restoration, Inc., New York One real merit of the video installation is how it furnishes a clear sense of the constrained process of movement within the building. You enter as a guest would via a series of right-angle turns, then up through the house to the second-floor grand salon. Other rooms lurk semi-concealed in plain sight. Expectations of modern austerity, which the house's famous frosty glass-brick facade suggests, are undone as the camera moves through that brick to reveal a decadent interior. It's very strange and tremendously appealing. Kenneth Frampton wrote in an essay on the home that its "discordances in style and scale have a surrealist feel to them," an impression certainly accentuated by the strange modern technologies deployed here to see them.  Pierre Chareau, Office, 1924, pochoir print; 8 13/16 x 10 x 7/16 in. Private Collection. Image © John Blazejewski, Marquand Library, Princeton University (It's no surprise that Chareau worked as a set designer on a number of films, principally with avant-garde director Marcel L'Herbier, work represented here by stills and design sketches. L'Inhumaine, which also utilized Robert Mallet-Stevens as a set designer, recently became available on Blu-Ray in the US and is worth seeking out.)  Alabaster and hammered brass, 67 3⁄8 × 17 ¾ × 21 5⁄8 in. (171 × 45 × 55 cm). Centre Pompidou, Musée National d'Art Moderne, Centre de Creation Industrielle. Paris. Image Courtesy of the Jewish Museum Press Office Otherwise excellent, the actual exhibit does somewhat neglect Chareau's singular work in a forgotten nook of design: ceilings. Chareau's own are carved, layered, angled, and relentlessly manipulated to echo, emphasize, or contrast with, the volumes of rooms beneath. It's difficult to think of a designer who's provided more imaginative reasons to look up (happily the exhibit's catalogue provides numerous examples of this work).  Table and bookcase (MB960), c. 1930, designed by Pierre Chareau, walnut and black patinated wrought iron. Image © Ken Collins, image provided by Gallery Vallois America, LLC It's exceptionally illuminating, not to say magical, to see a large collection of Chareau's work assembled physically in one place, an experience otherwise impossible outside of the Maison de Verre. This would be an accomplishment even if the only curatorial intervention had been opening packing crates, but it's especially gripping to see Diller Scofidio + Renfro's efforts to provide simulacra of original arrangements. What emerges from these experiences is a sense of Chareau's talents, talents which—much like his unusual, unexpectedly harmonious designs—are more than the sum of their parts. Pierre Chareau: Modern Architecture and Design at the Jewish Museum in New York is now open through March 26.  This posting includes an audio/video/photo media file: Download Now |
| Ode to Pioneers - A Vision For The 'House of Delft' Mixed-Use Hub Posted: 11 Feb 2017 12:00 AM PST  Three tall facades take inspiration from famous historic Delft dwellings. Image Courtesy of Van Dongen-Koschuch Architects and Planners Van Dongen–Kuschuch Architects and Planners has released images for its 'House of Delft' mixed-use hub in the Netherlands. Located beside Delft Central Train Station, the scheme will act as a gateway to both the historic city center and the renowned University of Technology. The architectural intent behind the proposal is to celebrate the artistic, scientific and innovative achievements which came from the city throughout its history. As visitors step off the train, it will be both an introduction to the city, and an indicator of what it has to offer.  The House of Delft acts as an introduction to the city. Image Courtesy of Van Dongen-Koschuch Architects and Planners  The facades are to act as display windows to future innovation in Delft. Image Courtesy of Van Dongen-Koschuch Architects and Planners House of Delft is a modern interpretation of ten historic Delft buildings. The complex is defined by three 20-meter-high houses at one side, and seven glass facades at the other. The facades draw inspiration from the dwellings of influential Delft residents throughout history, and tell a story of how they lived and worked. As a show of pride in Delft's continued contribution to research and technology, the glass facades will come alive with the sights of people living, working and experimenting in studios – modern equivalents of Hugo de Groot or Reiner de Graaf.  House of Delft will be constructed of high-quality durable materials. Image Courtesy of Van Dongen-Koschuch Architects and Planners
 House of Delft will offer a range of rented and market studios. Image Courtesy of Van Dongen-Koschuch Architects and Planners House of Delft is due to open in 2020. News via: BLOC Creative Development Agency and Van Dongen–Kuschuch Architects and Planners.  This posting includes an audio/video/photo media file: Download Now |
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