Arch Daily |
- Transforma Art Studios / Pedro Gadanho + CVDB arquitectos
- Villa Agava / Driss Kettani Architecte
- KS Kindergarten / HIBINOSEKKEI + Youji no Shiro + Kids Design Labo
- Tonkin Liu Reveals the Cradle Towers of Zhengzhou
- The Parametric Process Behind the Hamburg Elbphilharmonie's Auditorium
- Green and Sustainable Learning Campus Peer / Bekkering Adams Architects
- LOHA Releases Design Methodology Book
- These Intricate Architectural Models Will Change How You See Their Famous Full-Size Counterparts
- Pixelmatters HQ / Pixelmatters
- Adjaye's National Museum of African American History & Culture Photographed by Brad Feinknopf
| Transforma Art Studios / Pedro Gadanho + CVDB arquitectos Posted: 19 Feb 2017 07:00 PM PST  © Fernando Guerra | FG+SG
 © Fernando Guerra | FG+SG This project is based on the adaptation of a number of buildings in the historic centre of Torres Vedras so as to accommodate an innovative arts centre dedicated to music, performance, new media and the visual arts.  Section  Section The ambitions of the young institution, as well as the willingness to integrate and rehabilitate the urban ensemble – including a small housing scheme complete with its own street – determined that the Transforma headquarters should play on the ambiguity between public and private. While a cafeteria in the lower floor potentially expands onto the adjacent plaza through the main entrance, a newly minted urban pathway extends the existing alley to connect different levels of the city. Offering diverse spatial experiences, including the possibility of public passage, this path gives access to the multipurpose, kidney shaped auditorium that constitutes the central core of the arts organization.  © Fernando Guerra | FG+SG  Floor Plan 02  © Fernando Guerra | FG+SG In general, public facades are minimally transformed, while new internal “organs” push against the old walls as a set of volumes and capsules linked to new functions and uses.  © Fernando Guerra | FG+SG  Section  © Fernando Guerra | FG+SG Different colours are used to characterize these capsules as a basic process to claim their presence and exceptional character.  © Fernando Guerra | FG+SG  This posting includes an audio/video/photo media file: Download Now |
| Villa Agava / Driss Kettani Architecte Posted: 19 Feb 2017 06:00 PM PST  © Fernando Guerra | FG+SG
 © Fernando Guerra | FG+SG From the architect. This house is projected on a north-south oriented plot and features a blind façade on the street while being largely open on the side and the back with the south oriented garden.  © Fernando Guerra | FG+SG The plan "silhouette" is the consequence of the urban rules and the need to perfectly fit with the adjoining house on the east.  © Fernando Guerra | FG+SG The disadvantageous north orientation on the street and the presence of existing high enclosure walls are here an opportunity to revisit some of the traditional house codes, while maintaining at the same time transparency and spatial fluidity.  © Fernando Guerra | FG+SG A chicane entrance, highlighted by a set of black and gray-blue traditional tiles walls emphasizes this duality and reinforces the contrast between privacy and discretion on the street and openness and transparency on the pool and the garden. This principle is affirmed through three landscape sequences, the mineral garden at the entrance, the aquatic sequence on the lateral side and the vegetal garden on the south, which in combination with the enclosure walls reinterpret in a certain way the courtyard.  © Fernando Guerra | FG+SG Inside, a wooden panel / chimney acts as a pivot and help preserving the service area privacy while maintaining a fluidity of use. This panel incorporates a screen of wooden slats whose opacity varies according to the angle of view.  © Fernando Guerra | FG+SG  Cross Section  © Fernando Guerra | FG+SG The project tries to play on the notions of privacy and transparency, fluidity and functional considerations and uses a palette of materials both raw and rich in textures and colors which in combination with the vegetal element offers an abstract composition on the street.  © Fernando Guerra | FG+SG Product Description.The use of the traditional Moroccan tiles called Zellige emphasizes the chicane entrance and is part of the abstract composition on the street. It also gives a touch of color, vibrant with light, which goes well with the spirit of Casablanca.  © Fernando Guerra | FG+SG  This posting includes an audio/video/photo media file: Download Now |
| KS Kindergarten / HIBINOSEKKEI + Youji no Shiro + Kids Design Labo Posted: 19 Feb 2017 12:00 PM PST  © Taku Hibino / HIBINOSEKKEI - Youji no Shiro
 © Taku Hibino / HIBINOSEKKEI - Youji no Shiro From the architect. The owner, whose project we designed and completed 5 years ago, consulted us again to " build an area in the school where children can develop their creativity through role playing".  Floor Plan After understanding the requirement, we wanted to break away from the already existing toys and playground kindergarten typology, and to design the space in sync with our belief that "when children role play, they try imitating adults." Sticking around this notion we decided to design one mini house within the existing building, where children can imitate their parents and their real world activities. As a result, this "Ouchi" was built. *Ouchi, this meaning that "House" in Japanese.  © Taku Hibino / HIBINOSEKKEI - Youji no Shiro "Ouchi", includes a kitchen, table, laundry, wood stove, etc. The kitchen is further equipped with frying pans, forks, knives, spoons, cups, toaster, rice cooker, chopping board, pots, and also the refrigerator to store food  © Taku Hibino / HIBINOSEKKEI - Youji no Shiro Children may enact their mothers, by making a meal from various ingredients, decorating the table with flowers, and also arranging dishes while dining. After the meal, children may also clean and wash dishes in the sink. They may turn on the heater during cold, and eat at the terrace when sunny. They can put clothes into the washing machine and then also keep it for drying.  Elevation This "ouchi" is a place to bring up children's innovation and imagination through various role-playing activities. Furthermore, we also brought the children to site during construction to give them a firsthand touch and feel experience of a carpenter's job. By this, we are challenging the conventional methods and creating opportunities to increase the possibility of exploration and curiosity amongst children, by keeping them in close contact with the adult jobs.  © Taku Hibino / HIBINOSEKKEI - Youji no Shiro The existing toys and playground equipment are produced to cope with the law of Product Liability, and hence fashioned cautiously towards customer security and spoon fed guidance. This inhibits the creativity and curiosity amongst children, by making things straight and clear and hence eradicating the possibility of exploration. To handle the situation well, our design is based on this essential concept, where children could continuously create challenge and grow.  © Taku Hibino / HIBINOSEKKEI - Youji no Shiro To complete this concept, its essential to allow children to explore in here with full freedom and less direct interference from the teachers. The owner understands this well and hence keeps an eye on children from a distance. As a result, we have the scenes where children continuously create and challenge with wonderful smiles on their face. We are looking forward to the future they will make for themselves.  © Taku Hibino / HIBINOSEKKEI - Youji no Shiro  This posting includes an audio/video/photo media file: Download Now |
| Tonkin Liu Reveals the Cradle Towers of Zhengzhou Posted: 19 Feb 2017 08:00 AM PST  The Cradle Towers of Zhengzhou will contain apartments, offices, retail, leisure, and a hotel. Image Courtesy of Tonkin Liu London-based firm Tonkin Liu has released images of its competition-winning Trade Centre in Zhengzhou, China. The Cradle Towers of Zhengzhou will comprise of five mixed-use towers swooping out of a ring-shaped podium. Inspired by the nearby Songshan mountainscape, the scheme aims to celebrate the city's origins as it rockets into a high-tech future.  A ring-shaped podium contains a soft landscaped garden. Image Courtesy of Tonkin Liu The Cradle Towers will accommodate offices, apartments and a hotel, emerging from a podium containing retail and leisure functions. Hollowed out to form a ring, the podium acts as a threshold between the hard, dense urban context of Zhengzhou, and a soft, sheltered landscape within.  A family of five towers creates an urban mountainscape. Image Courtesy of Tonkin Liu  A responsive facade creates a heavy base, and lantern-like tips. Image Courtesy of Tonkin Liu Varying in height, the family of five towers form a responsive urban mountainscape against the Zhengzhou skyline. Glass facades are fitted with a responsive skin controlling solar shading and privacy. From afar, the skin creates a transition from dark to light as it scales the building, transforming the podium into a heavy mass and the towers into lantern-like tips.  A family of mixed-use towers with responsive facades and vertical gardens. Image Courtesy of Tonkin Liu
News via: Tonkin Liu.  This posting includes an audio/video/photo media file: Download Now |
| The Parametric Process Behind the Hamburg Elbphilharmonie's Auditorium Posted: 19 Feb 2017 06:00 AM PST  © Iwan Baan Of all its bells and whistles, the focal point of Herzog and de Meuron's latest successful endeavor, the Hamburg Elbphilharmonie, is arguably the central auditorium, as explored in this new article by WIRED. An incredible example of the possibilities of parametric design, the hall is comprised of 10,000 individual acoustic panels that line the walls, ceilings, railings and balconies. Each of the panels consists of one million "cells" of varying dimensions, created to help define the sound within the space. In order to accomplish this feat, Herzog and de Meuron collaborated with renowned acoustician Yasuhisa Toyota, and Benjamin Koren of One to One, who created the algorithm responsible for the 10,000 unique panels. "That's the power of parametric design," said Koren. "Once all of that is in place, I hit play and it creates a million cells, all different and all based on these parameters. I have 100 percent control over setting up the algorithm, and then I have no more control." To learn more about the process behind the Hamburg Elbphilharmonie's acoustic auditorium, and one of ArchDaily's Building of the Year winners, check out WIRED's full coverage on the matter, here. #donotsettle Takes Us Inside Herzog & de Meuron's Hamburg Elbphilharmonie During Its Opening Fly Through Herzog & de Meuron's Hamburg Elbphilharmonie at 2 Different Speeds  This posting includes an audio/video/photo media file: Download Now |
| Green and Sustainable Learning Campus Peer / Bekkering Adams Architects Posted: 19 Feb 2017 05:00 AM PST  © Scagliola/Brakkee
 © Scagliola/Brakkee From the architect. The project School Campus Peer is designed as a landscaped urban ensemble with a secondary school, a primary school, a sports complex and a boarding school. The project, of approximately 18,000 m2, integrates sport fields, playgrounds and a large public park as an integral part of the campus design. The set up of the various buildings, the playgrounds and the outdoor spaces ensures a diverse play  © Scagliola/Brakkee  Ground Floor Plan  © Scagliola/Brakkee and learning landscape, where a range of activities is possible. The campus is located in the immediate vicinity of the centre of Peer. The green central area is open to the public, making the campus a benefit for the town of Peer.  © Scagliola/Brakkee The buildings have spacious common areas for meetings, learning centres and various forms of education. The special rooms in the buildings are designed as expressive accents, and anchor the building to the surrounding environment. Green patios and playground areas are spatially integrated in the buildings. An important component is the flexible and multifunctional set up of the campus, through which multiple use is possible and the campus can be open 24/7 during daytime as well as in the evening. Through this, the campus is forming a vivid learning and recreational complex in the heart of the city of Peer.  Section  Section The project is part of the Belgium ''Schools of Tomorrow'', a major operation upgrading and renewing more than 200 schools in the whole country. The landscape design was made in co-operation with landscape designers Bureau B + B.  © Scagliola/Brakkee A serene materialisation with natural stone, wood and lively brickwork binds the different buildings together. In the interior, wooden accents enrich the space with a warm atmosphere.  © Scagliola/Brakkee Product Description. - A serene materialisation with natural stone, wood and lively brickwork binds the different buildings together. In the interior, wooden accents enrich the space with a warm atmosphere.  This posting includes an audio/video/photo media file: Download Now |
| LOHA Releases Design Methodology Book Posted: 19 Feb 2017 04:00 AM PST LOHA (Lorcan O'Herlihy Architects) has recently released Amplified Urbanism, a book about its design methodology, which is "rooted in creating fluid interaction between public and private spaces, emphasizing social and civic connections, and harnessing existing ecological and infrastructural patterns." Through this publication, LOHA aims to present projects it has developed based on these principles, as well as to provoke discussion about issues in Los Angeles and the wider architectural field. In order to highlight the book "as a creative process that begins in the studio, and when implemented in the built environment, catalyzes positive connections," LOHA has collaborated with filmmakers Spirit of Space on a short film. Learn more about Amplified Urbanism by watching the video, above. News via: LOHA (Lorcan O'Herlihy Architects).  This posting includes an audio/video/photo media file: Download Now |
| These Intricate Architectural Models Will Change How You See Their Famous Full-Size Counterparts Posted: 19 Feb 2017 01:30 AM PST  © James Ewing, Courtesy Columbia GSAPP This article was originally published by Metropolis Magazine as "Kenneth Frampton on the Art & Artifice of Architectural Models." For decades, students at Columbia University's Graduate School of Architecture, Planning, & Preservation signed up for Kenneth Frampton's legendary class, Studies in Tectonic Culture. The course tasked students with creating realistic representations of buildings "as a pedagogical exploration of the history of architectural tectonics"—and the models long spilled into the hallways of the architecture school before being hidden away in the archives. Now, the Arthur Ross Architecture Gallery has decided to pull some of these models out from obscurity and display them in a whole new light for the show Stagecraft: Models and Photos, which opened February 9th. Produced during the 1990s and early 2000s, the models are of significant 20th-century buildings around the world, from Frank Lloyd Wright's Samuel Freeman House to Peter Zumthor's St. Benedict Chapel.  Photographer James Ewing prepares to shoot a model of Peter Zumthor's St. Benedictine Chapel. Image © Nicholas Knight/Courtesy Columbia GSAPP The gallery also commissioned award-winning photographer James Ewing to photograph the models, in a bid to explore the inextricable link between the architectural model and the photograph that depicts it. For Ewing, the photographs were not made to "replicate…or reproduce [the models, but rather] create an illustration of them, an idealized view that is different from the model itself." Preview the exhibit below through six featured images that will be on display; each photograph is accompanied by an explanatory quote from Kenneth Frampton and James Ewing. Enjoy! Peter Zumthor, Saint Benedict Chapel, Sumvitg, Switzerland, 1988 © James Ewing, Courtesy Columbia GSAPP "It's an amazing little building, isn't it? The interior space of the building is great. It's just extremely simple. It's covered in shingles and the walls and floor are timber, too. Everything is wood except for the roof, which is metal. The students could have made a metal roof, but there is something discreet about making the whole model out of wood. The craft difference between the metal of roof and the character of the shingles is really so beautifully handled. If they'd done the roof in metal, then they would have fallen into a trap: the shingles would not seem real enough." —Kenneth Frampton "I played around with projected backgrounds, using a trick I learned from looking at Balthazar Korab's process shots. Korab was a photographer who trained as an architect and who worked for Le Corbusier, and later for Eero Saarinen. He photographed models in Saarinen's studio before starting his own photography practice. For one of the Zumthor shots, there is Mylar on the floor and a blue gel on the light, which creates reflected patterns that you can stylize and that give a bit of texture to the background without distracting your eye from the model. It creates a manufactured sky. Just like architecture, styles go in and out of fashion in model photography. In the '90s it was popular to photograph models against a black background so that they seemed to exist in a void. But from my research, I found that this type of simulated sky was popular in the '50s and '60s." —James Ewing Norman Foster, Renault Distribution Center, Swindon, UK, 1982 © James Ewing, Courtesy Columbia GSAPP "Part of my philosophy is that you have to provide room for creative play. To get good work you need to be able to experiment and try new things. Things got really psychedelic with the Foster model—with lens flares, crazy colors, multiple shadows and reflections. I also played around by including the edges of the background projection, framing it in rather than cropping it in. All these photographs oscillate between making something look real and making something look unreal. None of these models look real, and they weren't designed to, but they're remarkably accurate in some aspects. I tried to flatter the models, but I'm not trying to replicate them or reproduce them in a photograph. I'm trying to create an illustration of them, an idealized view that is very different from the model itself." —James Ewing "The model of Foster's Renault Distribution Center is obviously not a realistic model. It doesn't intend to be. But it does exemplify the construction and the ingenuity of the purlins, which are sort of woven into this cage. It's just extraordinary. If the model makers had included a full roof over it, you would miss the full brilliance of the work technically. The whole point of the tectonic is a combination of the poetic and technical dimension, at one and the same time. I think this model is particularly didactic in this way." —Kenneth Frampton Frank Lloyd Wright, Samuel Freeman House, Los Angeles, USA, 1924 © James Ewing, Courtesy Columbia GSAPP "How do you mutually represent the different materials involved in the building and in the model? That is how does one differentiate between metal, wood, concrete, textile blocks, so on? It becomes a question of relative sensitivity. And actually one of the most amazing models in this regard is the corner detail of Frank Lloyd Wright's Freeman House in LA. There is a deliberate dematerialization of the textile block at the corner. In this the students made the textile block from rubber molds and then cast the blocks in plaster. The metal fenestration, however, in this case was represented by a very thin wood. So one is really reading plaster against wood and glass, and in fact, they elected not to show the glass; they simply left it as void." —Kenneth Frampton "Because the house is in the Hollywood Hills, it's got those fabulous views of LA. That's why I wanted to use this backdrop. It's almost an interior, but not quite—because we're seeing the outside of the building and the floor plates. So it gives you the sense of being inside the room, looking out, and then also reminds you that you're looking at a section wall. The important thing about the Frank Lloyd Wright model is that, unlike the others, it's a corner of the building—it's like a piece of cake that's been cut. The aim was to find a camera position that describes enough of the building that you could imagine and complete it in your mind—but still always showing the edges. I'm not trying to fool you or pretend it's not a sectional model. I'm trying to give you just enough of the model so that you can imagine that it's a real building." —James Ewing Jørn Utzon, Bagsværd Church, Bagsværd, Denmark, 1976 © James Ewing, Courtesy Columbia GSAPP "One of the difficult problems for Utzon was the membrane between the earthwork and the roofwork. But he solves it, more easily in the Bagsværd Church than in the Sydney Opera House. What is very interesting here is what is or is not rational in relation to structure. If by rational one means economic, then the span over the nave is such that it could have been built in steel. But Utzon wanted a true shell of concrete. This membrane, floating between the earthwork and the roofwork, was a preoccupation of his. So, there is a kind of poetic reasoning. It is not an irrational building." —Kenneth Frampton "This building is really extraordinary in section. I think it should always be viewed this way. Only then is the negative space between the interior curve and exterior form visible. This is the first time I've photographed models in section—and that changes the approach immediately. In a closed model you might treat the building like a rendering and try to show a pedestrian's viewpoint of the actual building. The sectional model changes that; you're really photographing an illustration of the building. The photograph is like an illustration of an illustration." —James Ewing Gerrit Rietveld, Schröder House, Utrecht, The Netherlands, 1924 © James Ewing, Courtesy Columbia GSAPP "Photographing models is an exercise in still-life, in the arrangement of objects. There's a technique in Dutch still-life painting: to have an object, like a knife, peeking over the edge of the table toward the viewer. We did the same thing with this model. But I also saw an opportunity in this model that wasn't there in any of the others. It is a furnished interior, just big enough to fit the camera inside. The radiator, the window shades, and the water faucets are all modeled. There is a fantastic struggle for detail in this model. It's almost distracting. I approached this model the same way I would photograph a full-size interior. In interior photography, it's important to leave enough space in the image for the viewer to imagine moving through it. You end up spending a lot of time moving things around, taking furniture out of a room. That is how the iconic Rietveld chair ended up on the terrace." —James Ewing "In a certain sense I still believe that building buildings is a craft operation. Despite the fact that you can rationalize it. Somehow this reminds me of the fact that up until 1968, students entering the architecture school at the Royal Danish Academy of the Arts in Copenhagen had to do a one-year apprenticeship as a carpenter. The student revolt of '68 got rid of all of that, but I still think that the act of drawing and the act of making a model is in the last analysis a kind of micro-craft experience. It's not directly applicable, but it gives you a certain respect for the making of anything with your hands as opposed to a distanced intervention via a machine. I'm teaching respect, respect for what people have made and why they have made it in a particular way." —Kenneth Frampton Le Corbusier, Pavillon des Temps Nouveaux, Paris, France, 1937 © James Ewing, Courtesy Columbia GSAPP "I found a great historical image of the 1937 Exposition in Paris that described the Pavillon des Temps Nouveaux and its tectonics. I used it as a starting point. The model doesn't have the original building's tent membrane—the skin. So color became a tool to recreate the original photograph's composition. I lit the cables with blue light and made the sky yellow to achieve maximum contrast and similar shadows. The scale of the building is rather abstract, so I used cutout scale figures from period photos of the building—something Balthazar Korab often did in his photographs of models. For another shot, I used a smoke machine—for the first time. I wasn't sure if the smoke was going to hover over the floor or billow up to the ceiling. It looked really cool right away and added a new element to the image. We put some crazy music on the stereo and cranked it up. We put a red light behind the model, shining up, to hit the smoke. The smoke becomes a stand-in for the fabric that's missing in the model, an ethereal part of the building that would have moved with the wind." —James Ewing "The models couldn't be realistic. They had to be didactic in order to overcome the picturesque and the decorative. A tectonic model must be expressive of its intrinsic structure by way of the way it's made. The tectonic is an expressive culture of construction, and because it's an expressive culture, it always involves revealing and concealing. So then what you choose to reveal and what you choose to conceal are part of its poetics." —Kenneth Frampton  This posting includes an audio/video/photo media file: Download Now |
| Pixelmatters HQ / Pixelmatters Posted: 19 Feb 2017 01:00 AM PST  © Armazém Criativo
 © Armazém Criativo From the architect. The building, considered World Heritage Site by UNESCO, is located in Avenida dos Aliados, in the heart of the city of Porto. Its construction dates back to the mid 20's, making it close to become a centennial building.  © Armazém Criativo In the previous occupation the space was used as a night club. Moreover, it had been empty for some years, therefore it was degraded due to lack of maintenance and in need of a full recovery.  General Plan Our intervention was complete, although focused exclusively on the interior of the space. There were no electrical installations, and due to the particularity of the previous occupation, all the walls and ceilings were painted black. With 5 meters of height, it was a constant challenge not to miss any detail.  © Armazém Criativo Being Pixelmatters a technology company, the goal was to create a warm and inspiring open space. One of the main concerns was to make the connection between the contrasts of the digital and technological "world" with the centennial details of the original space, thus preserving its history and architectural value.  © Armazém Criativo  © Armazém Criativo  This posting includes an audio/video/photo media file: Download Now |
| Adjaye's National Museum of African American History & Culture Photographed by Brad Feinknopf Posted: 19 Feb 2017 12:00 AM PST After its opening in September last year, the now completed Smithsonian National Museum of African American History and Culture can be seen in full swing, thanks to these new photoset taken by photographer Brad Feinknopf. Designed by Adjaye Associates, the 420,000 square foot building houses numerous galleries and collections, as well as a theater. Maintaining a strong connection to America's engrained African history and roots through its bronze filigree envelope, the museum asserts a subtle presence in the landscape, coexisting alongside the Washington Monument and National Museum of American History.  © Brad Feinknopf  © Brad Feinknopf  © Brad Feinknopf  © Brad Feinknopf  © Brad Feinknopf  © Brad Feinknopf  © Brad Feinknopf  © Brad Feinknopf  © Brad Feinknopf  © Brad Feinknopf  © Brad Feinknopf News via: Brad Feinknopf. Smithsonian National Museum of African American History and Culture / Adjaye Associates  This posting includes an audio/video/photo media file: Download Now |
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