Arch Daily |
- Acoustic and Auditoriums: 30 Sections to Guide Your Design
- Alves da Veiga / Pedro Ferreira Architecture Studio
- AD Classics: Palais des Papes / Pierre Poisson & Jean de Louvres
- Université Mohammed VI Polytechnique / Ricardo Bofill
- Casa Elíptica / Mário Martins Atelier
- Shishka Bar / IITM Architect
- 'Urban Envelope' Samuel House / MMGS Architects
- Brown Condo Sale Gallery / PODesign
- Houndstooth Coffee and Jettison Cocktail Bar / OFFICIAL
- We're Looking for ArchDaily China's Next Content Editor!
- Floating Sleeping Capsules to Provide Overnight Transport to Dutch-Themed Japanese Amusement Park
- Luiz Paulo Conde Waterfront Promenade / B+ABR Backheuser e Riera Arquitetura
- BIG's LEGO House Tops Out, Gets September Opening Date
- Halle du Conservatoire des Mécaniques / Patrick Arotcharen architecte
- 35 Exemplary Projects Win 2017 AIA New York Design Awards
- Lautaro House / Felipe Alarcón Carreño
- These Images of Abandoned Insane Asylums Show Architecture That Was Designed to Heal
- Cyclopean House / Ensamble Studio
- 6 Eye-Catching Corten Steel Construction Details
- A+U 542 15:11 RCR Arquitectes - Journey
| Acoustic and Auditoriums: 30 Sections to Guide Your Design Posted: 08 Mar 2017 10:00 PM PST  Seeing the space of an auditorium in section is a key tool in allowing us to approach a design's of acoustics, accessibility, and lighting. These components are what make the design of an auditorium a complex task, requiring detailed and specific studies. Check out the 30 auditorium sections below, they are sure to inspire you! 01. Schouwburg Amphion / Mecanoo Sección 02. Auditorio Blackberry / Estudio Atemporal Sección 03. Hancher Auditorium / Pelli Clarke Pelli Architects Sección 04. Ulumbarra Theatre / Y2 Architecture Sección 05. Princess Alexandra Auditorium / Associated Architects LLP Sección 06. Culture Center / Arkitema Architects Sección 07. Kadare Cultural Centre / Chiaki Arai Urban and Architecture Design Sección 08. Katowice International Conference Centre / JEMS Sección 09. Winspear Opera House / Foster + Partners Sección 10. Conservatoire d'Aubervilliers / Agence Chochon-Pierre Sección 11. El Plaza Condesa / Muñohierro + Esrawe Studio Sección 12. Engineering School and Auditorium University Campus / Gerardo Caballero, Maite Fernández Sección 13. Everyman Theatre / Haworth Tompkins Courtesy of Haworth Tompkins 14. Sines Center for the Arts / Aires Mateus Sección 15. Wagner Noël Performing Arts Center / Bora Architects + Rhotenberry Wellen Architects Sección 16. Hamer Hall / ARM Architecture Sección 17. Han Show Theatre / Stufish Entertainment Architects Sección 18. The Cloud / Studio Fuksas Sección 19. Guangzhou Opera house / Zaha Hadid Architects Sección 20. Rehabilitación del Teatro Góngora de Córdoba / Rafael de la-Hoz Sección 21. Lycee François Truffaut Multi-purpose Hall / f.au Sección 22. Auditorio A / Eduardo Souto de Moura + Graça Correia Sección 23. Stormen / DRDH Architects Sección 24. Auditorium Theatre of Llinars del Valles / Álvaro Siza Vieira + Aresta + G.O.P. Sección 25. Bahrain National Theatre / Architecture-Studio Sección 26. National Theatre / Haworth Tompkins Sección 27. Albi Grand Theater / Dominique Perrault Architecture Sección 28. Theatre de Kampanje / van Dongen-Koschuch Sección 29. Kuopio City Theatre / ALA Architects Sección 30. Municipal Theater of Guarda / AVA Architects Sección  This posting includes an audio/video/photo media file: Download Now |
| Alves da Veiga / Pedro Ferreira Architecture Studio Posted: 08 Mar 2017 09:00 PM PST  © João Morgado
 © João Morgado From the architect. The Alves da Veiga project aimed to reconvert an old typography, built in the nineteenth century and abandoned for decades, in a set of six apartments, maintaining all the structure and spatial concept of preexistence.  © João Morgado The original building, though appearing from the outside only two storeys, in fact contained a curious floor + mezzanine organization that actually embodied four habitable floors.  Plans Despite the advanced state of degradation, the industrial austerity that we encountered during the first visits served as a starting point for the definition of the proposal.  © João Morgado A simple and strict organization where the spaces are strongly illuminated and marked by the double height of the right feet.  Section The result is six duplex apartments, where the white walls and ceilings contrasts with the cold concrete in ground floor and heat of the pine on the upper floors.  © João Morgado The staircase, organizer element of the set, is punctuated by a skylight that rescues the light into the building.  © João Morgado  This posting includes an audio/video/photo media file: Download Now |
| AD Classics: Palais des Papes / Pierre Poisson & Jean de Louvres Posted: 08 Mar 2017 08:00 PM PST  An elevation of the palace's eastern façade by Eugène Viollet Le-Duc. ImageCourtesy of Wikimedia user Ampon (Public Domain) While the Roman Catholic Church is synonymous with the Eternal City (and Italian capital), the greatest monument from its medieval heyday actually stands in southern France. The relic of the Papacy's brief departure from Rome, the Palais des Papes ("Palace of the Popes") in Avignon is the largest Gothic palace ever built. Constructed in two main phases by two of its residents, the Palais des Papes is a grandiose architectural expression of the wealth and power of the eleven popes who called Avignon their home and base of power.  Photo by Jean-Marc Rosier; courtesy of Wikimedia user Ampon (licensed under CC BY-SA 3.0) In the early 14th Century, all of Italy—but Rome, in particular—was plagued by a constant and pervasive sense of unrest. The ancient city was the arena in which various factions vied for power in a conflict bordering on outright civil war. Meanwhile, tensions were mounting between Pope Boniface VIII and King Philip IV of France, resulting in the premature death of the former and the excommunication of the latter. His short-lived successor, Pope Benedict XI, was the first to vacate Rome, electing instead to make his home in the more northerly city of Perugia; it was Benedict's successor, Clement V, who would first establish the papacy in Avignon in 1305. In doing so, the new pontiff hoped to begin repairing the Church's relationship with, and authority over, the Kings of France and England. Escaping the strife of war-torn Italy was a secondary, albeit significant, motivation.[1]  A depiction of Avignon in 1700 by Robert Bonnart; the towers of the Palais des Papes are visible at the top left. ImageCourtesy of Wikimedia user Aa77zz (Public Domain) Located between France, Italy, and what would come to be known as Germany, Avignon was an ideal base of operations for Clement V's mission to restore the Church's benevolent, but unquestioned, authority over the disparate states of Europe. While Rome had once been the nexus of an empire which had stretched from the British Isles to the Middle East, Avignon was at the center of the medieval Christian world which only encompassed Europe. Its proximity to the intersection of the Rhône and Durance Rivers also made transit from the city to the rest of Europe relatively convenient: a swift messenger could bring news from Avignon to destinations as remote as London or Rome in less than two weeks. Despite these advantages, however, Avignon lacked the historical religious significance of Rome, and it took two decades before one of the city's pontiffs saw Provence as more than a temporary home for the Church.[2]  A plan of the Palais des Papes drawn in 1921. The Palais Vieux, or Old Palace, is at the left, while the Palais Neuf, or New Palace, is on the right. ImageCourtesy of Wikimedia user François GOGLINS (Public Domain) Despite sharing his predecessors' longing to return to Rome, Pope Benedict XII was forced to acknowledge that the continued upheaval in Italy made such a dream untenable. It was then, in 1335, that the austere and sensible Benedict resolved to build a palace to house himself and his court and, in so doing, establish Avignon as his permanent seat of power. He chose to build his new home on the site of the city's former bishop's palace, the Bishop of Avignon being compensated with the residence of a recently deceased cardinal.[3]  An aerial view of the Palais; the former Bishop's Palace stood on the site of the Old Palace on the left side of the photo. ImageCourtesy of Flickr user jean-louis Zimmermann (licensed under CC BY 2.0) The architect Benedict XII chose for his palace was Pierre Poisson – a man who, like the Pope himself, was originally from Mirepoix in what is now southwestern France. Poisson oversaw the construction of a roughly rectangular building based on the layout of the bishop's residence which once occupied the site; in keeping with Benedict XII's personality, it was an austere structure devoid of sculptural ornamentation and more reminiscent of a protected convent or a fortress than a palace.[4,5] Entry to this first incarnation of the Palais, now deemed the "Old Palace," was through a fortified entry gatehouse projecting from the southern wing of the building (later demolished during the next major phase of construction). The irregular quadrilateral of the central courtyard was surrounded by galleries two stories tall and dwarfed by the various towers constructed around the building's periphery.[6] The northern wing contained the palace's first chapel: 40 meters (131.2 feet) long and only 8 meters (26.2 feet) wide, this chapel was considered disproportionate, too small, and too distant from the Pope's apartments. These undesirable qualities, combined with the room's tendency to become unbearably cold in winter, ultimately resulted in the relocation of pontifical ceremonies to a new chapel on the opposite end of the Palais.[7]  The walls of the Old Palace, adorned only with crenellations and simple pointed arches, appear more suited to a fortress than a palace. ImagePhoto by Jean-Marc Rosier; courtesy of Wikimedia user Ampon (licensed under CC BY-SA 3.0) The surrounding wings—the Consistoire to the east, the Aile des Familiers to the west, and the Conclave to the south—contained the residences and offices of members of the papal court. The Tour de la Campane, the tallest tower in the "Old Palace" (and still the highest point in the building overall), stood at the northwest corner of the cloister, its crenellated crown dominating the Palais. Jutting from the southeast corner of the palace stood the Tour du Pape ("Pope's Tower") or Tour des Anges ("Tower of the Angels"), the wing and tower which contained the apartments of the pontiff himself.[8]  The Tour de la Campane, as seen from the Old Palace courtyard; its crenellated roofline is the highest point of the Palais des Papes. ImageCourtesy of Flickr user Satoshi Nakagawa (licensed under CC BY-SA 2.0) The second major phase of construction, resulting in the "New Palace," took place under Benedict XII's immediate successor, Clement VI. Clement VI ordered the completion of the Trouillas and Kitchen Towers at the northeast corner of the Old Palace, as well as the addition of the Wardrobe Tower to the papal apartments. His vision for the Palais des Papes, however, was far grander than that of Benedict XII's. To execute this greater scope of work, Clement VI commissioned the design services of Jean de Louvres of Île-de-France (the region surrounding Paris). De Louvre immediately set about his work, gathering 600 men and clearing out the neighborhood surrounding the palace to make way for his sizable additions.[9]  In contrast to the more monolithic Old Palace, the Great Dignitaries' Wing of the New Palace features more decorative flair to signify its status as a papal residence. ImageCourtesy of Flickr user jean-louis Zimmermann (licensed under CC BY 2.0) Unlike the somber, unadorned "Old Palace," the New Palace did not shy away from embellishment or grandeur. De Louvres' first project was the Grand Audience Hall, a 52 meter (170.6 foot) long chamber on the ground floor of the new Grande Chapelle ("Great Chapel"). The hall is crowned with pointed Gothic vaults and adorned with a fresco by the Italian painter Matteo Giovanetti, who painted a composition of 20 figures from the Old Testament for the sizable sum of 600 Florins. Above the Audience Hall was the Great Chapel itself, which, at 52 meters (170.6 feet) by 15 meters (49.2 feet), was over twice the size of the original built under Benedict XII. With the addition of the Great Dignitaries' Wing—which housed the offices of the notaries and financial officials—to the west, the two wings of the New Palace and the papal quarters of the Old Palace defined a second, larger courtyard.[10,11]  Bounded by the papal apartments and the two wings of the New Palace, the Cour d'Honneur is substantially larger than the courtyard defined by the cloisters of the Old Palace. ImagePhoto by Jean-Marc Rosier; courtesy of Wikimedia user Ampon (licensed under CC BY-SA 3.0) By the time of Clement VI's death in 1352, the Palais des Papes was essentially complete. Only 25 years later, the papacy finally returned to Rome; after the Great Schism of the late 14th and early 15th Centuries, the palace was subsequently occupied by Legates and Vice-Legates until the French Revolution at the end of the 18th Century. For the next century, the once-prestigious Palais was put to use as a barracks, a role it would play until 1906, when it was opened to the public. Since then, the once-mighty home of the Avignon papacy has undergone significant restoration and repair to preserve its centuries-old architecture for the appreciation of the thousands of visitors who flock to it each year.[12,13] Although the Popes who built the Palais and gave it purpose vacated the massive structure centuries ago, its imposing towers and grandiose Gothic halls stand as a silent reminder of a period in European and Christian history which would otherwise be all too easy to forget.  A 15th Century drawing of Avignon by Étienne Matellange; the Palais des Papes dominates the skyline at the top right. ImageCourtesy of Wikimedia user Aa77zz (Public Domain) References  This posting includes an audio/video/photo media file: Download Now |
| Université Mohammed VI Polytechnique / Ricardo Bofill Posted: 08 Mar 2017 07:00 PM PST  © Gregori Civera
 © Gregori Civera Benguerir is only seventy kilometres from Marrakesh. Fes and Meknes aren't far away either, cities whose winding medinas are among the most beautiful in the world. And can we ignore the white avenues of Casablanca, shaped by the art deco movement? The gardens of Rabat? The oases of the Draa Valley? The ksour and the earthen palaces south of the Atlas? No; it's impossible to build on Moroccan soil as you would on the Chinese steppe or in the Las Vegas desert.  Floor Plan Here more than elsewhere, I needed to take into account a context. An art of living. A civilisation. Re-establish a link with what used to be a national source of pride: the art of building a city. Cities that the world continues to admire, from the beating heart of old Marrakesh, Jemaa el-Fna, to the mosque of Cordoba, Spain.  © Lluis Carbonell This project reinforced my conviction that it was possible to join the richness of Morocco's heritage with modernity. Recognising the strength of a tradition does not mean that you only look backwards; approaching the future with an antiquated mentality would be fatal. The economic, technical and social conditions in which the Mohammed VI campus is being built today, not to mention the whole of the Green City, are completely removed from those that gave rise to the Koutoubia and the Agdal Basin. In Benguerir I wanted arcades, covered or semi-covered streets, public spaces that were relatively tight and narrow. Details that speak to those who were born in the Kingdom, or who know its subtleties at the very least. I invented an architecture that emphasises the geometry of the square, works through all the variations of the patio, and that brings back the major figures of Moroccan culture, such as the moucharaby or the Arab–Andalusian arabesque.  © Lluis Carbonell Of course, all these elements that weld together a community and create an identity have been updated. Reworked. Adapted. Like most Moroccan towns, for example, the campus has a central square and a pedestrian walkway that goes from one end to the other. Its colours evoke the cities of the desert. It's planted with olive, cypress and palm trees—the emblematic trees of Morocco. But it also has a pergola of the sort that does not exist anywhere else. This structure is the fruit of long mathematic calculations. The realisation of algorithms, through steel and glass, that only computer software could master. To be sure enough of his references that he might demand an uncompromising modernity—that's also the role of the architect. It's because the Mohammed VI campus is so rooted in Moroccan soil that the pergola can be seen for what it is, a work of the avant-garde.  © Gregori Civera The Mohammed VI Polytechnic University project is unique. For its size. For its climate. For its ambitions. For its methodology. And for the range of skills that it had to bring together. The industrialisation of the construction process proved itself to be necessary, along with rapid decision making. Strong, legitimate environmental and technological expectations were satisfied. The urban story is being written now more than ever—but in a time that is steeped with centuries of culture.  © Gregori Civera  This posting includes an audio/video/photo media file: Download Now |
| Casa Elíptica / Mário Martins Atelier Posted: 08 Mar 2017 06:00 PM PST  © Fernando Guerra | FG+SG
 © Fernando Guerra | FG+SG Elliptical House is the result of an idea. It is based on a geometric shape and a volume sculpted by the landscape.  © Fernando Guerra | FG+SG A balance was sought between fullness and emptiness, weight and airiness, light and shade, or, the object and its image. It is a relationship between the real and the imagined, between physical and virtual spaces.  © Fernando Guerra | FG+SG With its elliptical base, the house is deliberately sculptural and organic. It is shaped by the wind and the sea that wants to embrace the wide floating oval which subtly delimits the central patio of the house.  © Fernando Guerra | FG+SG It is important to establish a subtle connection with the house next to it, to the east. A contemporary, dynamic balance was reached, and the same intense white is used in practically all the houses on this gentle, sunny slope.  © Fernando Guerra | FG+SG  Floor Plans  © Fernando Guerra | FG+SG It is in this ambience that the house should be experienced, without being aware of where the house begins and ends. The fluidity and lightness of its organic design reflects natural shapes, thus defining the house architecturally in its natural setting. And that is the intention for when the building work is completed.  © Fernando Guerra | FG+SG  This posting includes an audio/video/photo media file: Download Now |
| Posted: 08 Mar 2017 02:00 PM PST  © Antonov Dmitry
 © Antonov Dmitry Place: An old one-storey building in the historic center of Moscow. After a reconstruction, the ceilings were elevated to 5.8 meters and gothic style panoramic windows were installed, a few years before our project began.  © Antonov Dmitry Aim: Transformation of the one-storey building with a basement into an establishment capable of accommodating 80 people  Sketch Solution: We decided to add the second floor and expand the basement in order to have 3 fully-fledged floors. To do so, we had to fully demolish all the existing lift slabs and to erect them once more. The roof became accessible and two staircases were added, one of which leads directly to the roof from the building. All elements of the interior are hand-made on the base of our project  © Antonov Dmitry Product Description. 1. Rehau window system allowed the maximum optimization of energy efficiency for the building. It was important for us to find an efficient solution since the glass reaches 60% of the total area of the facade and the temperatures during winter drop to 20 degrees below zero. The solution we chose was a three-chambered fenestration Rehau/DELIGHT-Design 2. ITALON porcelain stoneware permitted to satisfy the client's demand to have a more durable flooring which wouldn't lose it's new-floor appearance over time. An irregular surface finish makes it seem like a genuine flooring board.  © Antonov Dmitry  This posting includes an audio/video/photo media file: Download Now |
| 'Urban Envelope' Samuel House / MMGS Architects Posted: 08 Mar 2017 12:00 PM PST  © Eresh Weerasuriya
 © Eresh Weerasuriya From the architect. Sited in the vibrant city of Colombo is the 'Urban Envelope', the dwelling house of a metropolitan architect. With its univocal façade seamlessly weaving itself into the tight residential fabric of the city, the abode has been named for its distinct concealment from the dusty and noisy urban street life of Sri Lanka's commercial capital.  © Malaka Weligodapola The pure white walls of this confine blends with the light and cloudy tropical sky, its towering mass a nod towards the upcoming skyline of an expanding Colombo. Only a row of creepers along the driveway, and a single tree with moderate foliage invites visitors inside. An antique door hidden off the side opens the 'Urban Envelope', revealing the surprising urban oasis amidst the barren concrete jungle of the city.  © Eresh Weerasuriya The voluminous forecourt is bordered by signature rubble walls that lend a rustic solidness to the house. The apparent hardness of the structure is softened by tropical greenery that together with an unrefined steel swing gestures visitors onwards towards the large void of the main door. The living and dining space between two solid rubble walls gives a lasting first impression to the interior.  © Eresh Weerasuriya The play of rubble and white plastered walls to create spaces between materially defined parallel lines sets the design language of this metropolitan dwelling. The overwhelming dimension of the backyard lawn animates the living space, climaxing the urban oasis. The forceful vista with its vastness in comparison to the tube like confinement of the indoors impacts a relaxing awe within the visitor. This play of volumes guides the design throughout the progression of its spaces.  Cross Section The staircase is wedged between two parallel rubble walls, further enhancing the design language. The tight volume opens to the sky from one side, and connecting to the open spaces throughout the house acts as an effective wind tunnel. This is supported by its orientation towards the wind direction.  © Eresh Weerasuriya Unrefined timber and steel fenestration and furniture add zing to the otherwise modest design in a pleasing contrast. The quiet retrieval of daylight makes way for man-made lighting, animating the design in warm white floods in soft glows against the dark of the night. The tranquil solitude affected by this subtle play of contrasts; solid and void, light and dark, roomy and narrow, parallel and lateral… creates a refreshing and relaxing habitat.  © Eresh Weerasuriya The orchard by the garden side brings the metaphorical oasis to literal meaning. This little corner in the wide expanse of urban Colombo with its edible vegetation signifies a greener prospect for the emerging metropolis. In symbiotic coexistence with nature, the urban sanctuary is enlivened by the twitter of birds and the skipping of squirrels, which brings the design to blissful contentment.  This posting includes an audio/video/photo media file: Download Now |
| Brown Condo Sale Gallery / PODesign Posted: 08 Mar 2017 11:00 AM PST  © Beersingnoi
 © Beersingnoi From the architect. BROWN sale gallery is located on Soi Ratchada 32, a neighborhood street. The program is for displaying mock-up rooms of BROWN condominium. Elongated wedge profile is introduced and extended entire site to occupy spaces for lobby and mock-up rooms. Since the long side of building is facing west, vertical outer skin is introduced to protect evening sunlight and to cast shadow of the façade pattern into interior space of gallery. The pattern of outer skin is composed randomly by three different sizes of standard cement boards, in order to achieve modern barn appearance for living space.  © Beersingnoi  Plan  © Beersingnoi Interrupting the Linear shape by inserting the orange transparency box, at the same time, this tinted glass box also creates light tunnel in the transition between lobby zone and mock-up room zone.  © Beersingnoi  This posting includes an audio/video/photo media file: Download Now |
| Houndstooth Coffee and Jettison Cocktail Bar / OFFICIAL Posted: 08 Mar 2017 09:00 AM PST  © Mark Leveno
 © Mark Leveno From the architect. The design for Houndstooth Coffee and Jettison cocktail bar was driven by their duality of function and shared connection. We developed the elemental concept of day to night with Houndstooth filling the larger sunlit space and Jettison occupying the intimate back corner and implemented it as a solid / void composition. Connected by a corridor with sliding doors on either end, the spaces operate independently or together. We developed an island bar below a floating wood clad volume that we affectionately named the cloud. The high ceilings create openness in the coffee shop and the cloud serves as a focal point, drawing the eyes up while balancing the space and concealing the mechanical system. Jettison inverts the cloud design with a lowered ceiling and a central void looking into the painted gold trusses that have the character of a chandelier. Walnut and greys establish a speakeasy quality while the curtain along the exterior wall softens the space and encourages conversations inward.  © Mark Leveno  Plan  © Robert Yu The patio along Sylvan Avenue has a cedar screen with a Houndstooth supergraphic that creates visual identity along the busy street. The screen controls the western sun while filling the seating area with dynamic afternoon shadows and shields guests from the road. We designed and fabricated the small café tables and wall mounted arm lights for the space while engaging other Texas designers for additional furnishings.  © Robert Yu  This posting includes an audio/video/photo media file: Download Now |
| We're Looking for ArchDaily China's Next Content Editor! Posted: 08 Mar 2017 08:30 AM PST We're hiring! Our team works with the most prestigious and influential architectural practices around the world in order to deliver specific and valuable content to a premium readership of architects. ArchDaily quickly established itself as one of the leading architectural websites in the world due to our editorial staff's meticulous understanding of what our audience is really looking for: the best architecture around the world, as soon as possible. And now, we're looking for another bright, enthusiastic and motivated member to join us. The editor we're looking for is passionate about producing content about local, emerging practices and publishing the work of China's talented architects. This proactive, vocal and articulate individual will help shape the space for debate around important topics. If you're fluent in Chinese and have excellent writing skills in both English and Chinese, this is the opportunity for you! Job title: ArchDaily China Editor To submit your application please send your CV (in English AND Chinese) and a brief cover letter to jobs@archdaily.com. Please use "ArchDaily China Editor" as the subject.  This posting includes an audio/video/photo media file: Download Now |
| Floating Sleeping Capsules to Provide Overnight Transport to Dutch-Themed Japanese Amusement Park Posted: 08 Mar 2017 08:20 AM PST  The capsules will slowly float 3.75 miles to the island overnight It's an age old question: How do you transport visitors to your Dutch-themed Amusement Park located four miles off the coast of Japan while also providing them with a place to sleep under the night sky? Okay, age-old it isn't – but it was the scenario facing the Huis Ten Bosch theme park in Sasebo, Japan, who recently acquired a 420,000 square-foot-island off the coast of the Nagasaki Prefecture. Their proposed solution? A fleet of floating capsules capped with a glass-roofed sleeping chamber that will slowly float overnight to the island housing new adventure-type attractions.
The spherical capsules will consist of two-stories and enough space to comfortably accommodate up to four people. After boarding in the evening, guests will wake up and be able to step off directly into the new area of the Netherlands-themed park. Huis Ten Bosch plans to have the system up and running by the end of the year. Representatives for the park said they hoped the new service would draw tourists from both Japan and abroad, similarly to its launch of the Henn na "Robot Hotel" in 2015, which is staffed entirely of robots – from front desk to room cleaning to concierge services. A night in the floating capsules is expected to cost between ¥30,000 to ¥40,000 ($260 to $350) per night. More details about the system will be released as its opening approaches. News via Japan Times. AD Classics: Nakagin Capsule Tower / Kisho Kurokawa Kunlé Adeyemi: My Practice "Is Not About 'Floating Architecture'"  This posting includes an audio/video/photo media file: Download Now |
| Luiz Paulo Conde Waterfront Promenade / B+ABR Backheuser e Riera Arquitetura Posted: 08 Mar 2017 07:00 AM PST  © Miguel As
 © Porto Novo From the architect. The "Orla Conde" Project is part of the process of transformation and urban recharacterization of the port region and centre of Rio de Janeiro, deriving from Porto Maravilha's urban operation.  © João Backheuser  Section  © Ignasi Riera The demolition of the raised viaduct is defined as one of the main interventions carried out within the site of Porto Maravilha. Built in the 60's, the viaduct ripped patterns and had a negative impact on the port region's landscape, breaking its proximity with the Baía de Guanabara (a bay). This removal, along the year 2014, gives back landscapes and forgotten places to the city of Rio, even sometimes unknown, and returns to the city and pedestrians a large area along the Baia de Guanabara's waterfront.  © Porto Novo  Longitudinal Section  © André Sanches Seen in the last 50 years as a deteriorated, industrial and abandoned area, a "non-place", the approximate 250.000 m2 of the Orla Conde are not only a fundamental piece for the renewal and revitalisation of the port area, but also of the centre of the city. Focusing on the citizen/pedestrian, the Orla Conde stablishes a change of paradigm, leaving behind a city that prioritized the car over pedestrians.  Diagram The project allows a pacific and organized coexistence of different means of transport (VLT-tram, bicycles, vehicles and alternative transportations), generates resting and playing areas, unveils historic buildings and views and landscapes to the bay. It attempts to recover the integration of the built city with the Baía de Guanabara, in addition to giving support to future activities and new functions which will have to emerge in the revitalized centre and the Porto Maravilha region.  © André Sanches  © André Sanches  © Miguel As  This posting includes an audio/video/photo media file: Download Now |
| BIG's LEGO House Tops Out, Gets September Opening Date Posted: 08 Mar 2017 06:25 AM PST  Courtesy of LEGO The BIG-designed LEGO House has topped out and is headed toward completion ahead of its just-announced grand opening date on September 28. Located near LEGO's corporate campus, in the heart of Billund, Denmark, the LEGO experience center will provide an estimated 250,000 yearly guests with a variety of LEGO-themed activities within its 12,000 square meters, inviting visitors of all ages to play and unleash their creativity.  Courtesy of LEGO "LEGO House is a manifestation of the very essence of the LEGO idea," says Jesper Vilstrup, General Manager, LEGO House. "This will be an amazing place where LEGO fans, their families and friends can experience – or re-experience – the playfulness of the LEGO universe. All activities are related to our philosophy that creative play promotes innovation. LEGO House will enable us to offer both adult and young guests the chance of stimulating both creativity and learning."  Courtesy of LEGO  Courtesy of LEGO The design of the LEGO House has been inspired by the company's iconic plastic brick, consisting of 21 white brick-shaped forms stacked on top of one another and capped with a keystone block with the proportions as a 2x4 LEGO brick. On the facade, textured clay tiles will give the building the illusion that it has been constructed from actual LEGO bricks. Open and accessible to the public, the building will feature both paid and free attractions. No ticket will be needed to visit the 2,000-square-meter LEGO Square, climb on the terraces, visitor the LEGO store or grab a LEGO-themed meal at any of the complex's three restaurants.  Courtesy of LEGO  Courtesy of LEGO Paid experience areas within have been arranged in four different color zones, each representing a different aspect of a child's learning. Red-colored spaces will stimulate creativity; blue, cognitive skills; green, social; and yellow, emotional. Conference facilities, an exhibit on the history of LEGO and a "Masterpiece Gallery" featuring fan creations round-up the building program.  Courtesy of LEGO  Courtesy of LEGO "The location of the building is no coincidence," continues Vilstrup. "Billund is where the LEGO adventure began. It was always our intention that LEGO House should be open to tourists as well as Billund's citizens at large. For this very reason, there is free access to the 2,000 m2 city square at the heart of the building, which we hope will become a natural gathering place for our guests."  Courtesy of LEGO  Courtesy of LEGO Construction on the project began in 2014. For those planning to visit the LEGO House's experience zones, LEGO recommends purchasing tickets in advance of its September opening. Ticket sales will open to the public in June. News via LEGO.  Courtesy of LEGO  Courtesy of LEGO Bjarke Ingels Lays Foundation Brick at LEGO House LEGO® Architecture's Newest Edition: BIG's Unbuilt LEGO® House C.F. Møller Designs New Headquarters for LEGO  This posting includes an audio/video/photo media file: Download Now |
| Halle du Conservatoire des Mécaniques / Patrick Arotcharen architecte Posted: 08 Mar 2017 05:00 AM PST  © Mathieu Choiselat
 © Mathieu Choiselat From the architect. A landmark of the aeronautical adventure, the Montaudran site has left a strong mark on the landscape and in our memories. The new exhibition hall, conceived to house gigantic mechanic creations, is therefore a study of the transmission and cultural identity.  © Mathieu Choiselat In front of the old runway, the Hall develops in streamlined volumes, the height of the spans and the receding lines of the roof creating a sensation of flying and reminding us of the historical dialogue between architecture and aviation. The ground plane is based on a noticeably irregular outline, which delineates four vessels, parallel to the runway and with a mezzanine on top to the east. The exhibition aisles are characterised by the very small base of the filigree structure's columns: this vast, free plan, ideal for the creation and exhibition of machines, encourages contemplation and perambulation. To this effect, the structure's clear expression is highlighted by the tight rhythm of the wooden trusses and the bolted joints which make the relationship between load and support explicit. The elegance and the technical nature of the structure thus echo the spectacle of monumental machines. This link between the envelope and its content is also reminiscent of the aeroplane assembly halls, whose audacity marked France between the wars. This direct heritage is further reinforced by the installation of shed windows running between the faults in the roof, and the creation of raw mineral flooring.  © Mathieu Choiselat From the outside, the architecture conceals this world of machines as much as it reveals it, stages it and preserves it. To this effect, a ribbon of perforated or full steel sheeting dresses the lower half of the glass panels and obscures the view of the pieces, which become objects of curiosity. From the various viewpoints that the site offers, the rhythms of the framework eventually take on a new dimension. The routes around the site develop different perspectives, uncover the strata of the architecture and highlight the kinetic nature of the roof lines. So, the glass spans define precise views on the machine-works and their background marked by the aeronautical heritage and green foliage. The site can be understood as it is hiding within the architecture's gaps, and the visitor's curiosity is constantly awakened. Through this porosity with its context, the hall places the visitor in a world of feelings, memories and dreams – precisely the world that the exhibited machines show.  Section - Detail The creation of a crystalline volume means the strict management of sunlight is necessary. The dimensions of the roof strips projected to the south, the east and the west are determined with regards to the movement of the sun, so as to guarantee optimal sunlight in winter and to restrict it in the summer. The architecture's impact on its environment and the temperature of the indoor spaces are therefore controlled. Light is either allowed in, stopped or transmitted through filters. The opening shed windows allow natural ventilation and, when combined with brise-soleil, stop the hall from heating up.  © Mathieu Choiselat  This posting includes an audio/video/photo media file: Download Now |
| 35 Exemplary Projects Win 2017 AIA New York Design Awards Posted: 08 Mar 2017 04:20 AM PST  Grand Prize Winner: Roy and Diana Vagelos Education Center / Diller Scofidio + Renfro. Image © Iwan Baan AIA New York has announced the winners of their 2017 AIA New York Design Awards, highlighting the best new projects located in the Empire State or completed by AIA NY registered architects across categories of architecture, projects, interior design and urban planning. Within the four categories, winning projects have been granted either an "Honor" or "Merit" distinction. Each project has been chosen for its "design quality, response to its context and community, program resolution, innovation, thoughtfulness, and technique." The winners scale in scale from temporary exhibitions to large-scale urban interventions. This year 22 of the 35 winners were New York City-located projects, including the grand prize winner, Diller Scofidio + Renfro's striking Roy and Diana Vagelos Education Center at Columbia University's medical campus. Continue reading to see the full list of winners. Best in Competition Grand Prize Winner: Roy and Diana Vagelos Education Center / Diller Scofidio + Renfro. Image © Iwan Baan Architect: Diller Scofidio + Renfro Architecture - Honor Grand Prize Winner: Roy and Diana Vagelos Education Center / Diller Scofidio + Renfro. Image © Iwan Baan Architect: Diller Scofidio + Renfro  De Maria Pavilion / Gluckman Tang Architects. Image © Nikolas Koenig Architect: Gluckman Tang Architects  University of Iowa Visual Arts Building / Steven Holl Architects. Image © Iwan Baan Architect: Steven Holl Architects Architecture - Merit Main: East Side Lofts / 1100 Architect. Image © Nikolas Koenig Architect: 1100 Architect  Sculpture Center / Andrew Berman Architect. Image © Michael Moran OTTO Architect: Andrew Berman Architect  Cummins Indianapolis Distribution Headquarters / Deborah Berke & Partners . Image © Cummins Architect: Deborah Berke Partners  Restoration and Renovation of the Rotunda at the University of Virginia / John G. Waite Associates, Architects. Image © Anna Wesolowsla Photography Preservation Architect: John G. Waite Associates, Architects  Tozzer Anthropology Building, Harvard University / Kennedy & Violich Architecture. Image © John Horner Architect: Kennedy & Violich Architecture  A/D/O / nARCHITECTS. Image © Frank Oudeman Architect: nARCHITECTS  Public Safety Answering Center II / SOM. Image © Albert Vecerka ESTO Architect: Skidmore, Owings & Merrill  Shear House (Environment Sensitive Typology) / stpmj Architecture. Image © Song Yousub Architect: stpmj Architecture  Asia Society Hong Kong Center / Tod Williams Billie Tsien Architects. Image © Michael Moran Architect: Tod Williams Billie Tsien Architects | Partners  Kim and Tritton Residence Halls, Haverford College / Tod Williams Billie Tsien Architects. Image © Michael Moran OTTO Architect: Tod Williams Billie Tsien Architects | Partners  Stealth Building / WORKac. Image © Bruce Damonte Architect: WORK Architecture Company Interiors - Honor Squarespace Global Headquarters / A+I. Image © Magda Biernat Architect: A+I  Dwana Smallwood Performing Arts Center / Jordan Parnass Digital Architecture. Image © Amy Barkow Architect: Jordan Parnass Digital Architecture  Diane L. Max Health Center: Planned Parenthood Queens / Stephen Yablon Architecture. Image © Michael Moran Architect: Stephen Yablon Architecture Interiors - Merit The Met Breuer Restoration / Beyer Blinder Belle. Image © Peter Aaron OTTO Restoration Architect: Beyer Blinder Belle  Maple Street School / BFDO Architects and 4|MATIV. Image © Lesley Unruh Architects: BFDO Architects and 4|MATIV  Brooklyn Heights Interim Library / LEVENBETTS. Image © Gregg Richards Architect: LEVENBETTS  New Lab at the Brooklyn Navy Yard / Marvel Architects. Image © David Sundberg Architect: Marvel Architects  Kips Bay Boys & Girls Club Decorator Show House Installation / SPAN Architecture. Image © Michael Moran Architect: SPAN Architecture  One Dag Hammarskjöld Plaza / STUDIOS Architecture. Image © Nikolas Koenig Architect: STUDIOS Architecture Projects - Honor Pierre Chareau: Modern Architecture and Design, The Jewish Museum / Diller Scofidio + Renfro. Image © Will Ragozzino - SocialShutterbug.com Architect: Diller Scofidio + Renfro  Penn Palimpsest / Practice for Architecture and Urbanism. Image © Practice for Architecture and Urbanism Architect: Practice for Architecture and Urbanism  New York at Its Core, Museum of the City of New York / Studio Joseph. Image © Thomas Loof Architect: Studio Joseph Projects - Merit Re-Envisioning Branch Libraries Design Study / Andrew Berman Architect. Image © Andrew Berman Architecture Architect: Andrew Berman Architect  Rhizolith Island / APTUM ARCHITECTURE. Image © APTUM ARCHITECTURE Architect: APTUM ARCHITECTURE  The Lima Art Museum New Contemporary Art Wing / Efficiency Lab for Architecture. Image © Efficiency Lab for Architecture Architect: Efficiency Lab for Architecture  XXX Times Square with Love / J. Mayer H. und Partner, Architekten. Image © Rob Kassabian Architect: J. Mayer H. und Partner, Architekten  NASA Orbit Pavilion / StudioKCA. Image © Chuck Choi Architect: StudioKCA Urban Design - Merit The Gowanus Canal Sponge Park Pilot / DLANDstudio Architecture + Landscape Architecture. Image © DLANDstudio Architect: DLANDstudio Architecture + Landscape Architecture  New York City Housing Authority Red Hook Houses – Sandy Resiliency & Renewal Program / Kohn Pedersen Fox. Image © KPF Architect: Kohn Pedersen Fox Associates  Buckhead Park Over GA400 / ROGERS PARTNERS Architects + Urban Designers. Image © ROGERS PARTNERS Architects + Urban Designers Architect: ROGERS PARTNERS Architects + Urban Designers  Maker Park / Studio V Architecture. Image © Studio V Architecture Architect: Studio V Architecture This year's jury consisted of:
The winning projects will be exhibited at the Center for Architecture in New York City from April 21 to May 6. News via AIA NY.  This posting includes an audio/video/photo media file: Download Now |
| Lautaro House / Felipe Alarcón Carreño Posted: 08 Mar 2017 03:00 AM PST  © Pablo Casals Aguirre
 © Pablo Casals Aguirre Buildings not only convey their physical characteristics, but also symbolic values attributable to experiences and memories, including what we imagine and what we know. In the case of a house, the bond between the user and the building represents a relationship that gains in symbolic value with everyday use.  © Pablo Casals Aguirre  Axonometric  © Pablo Casals Aguirre This small house reform explores its user’s connection with the built environment, the meaningful link between materials and its attachment to memories. Therefore, preserving a certain state of affairs would become a disguised way of keeping hopes already dashed by reality, to the detriment of any possibility of improvement. Through architecture, the intention is to give the house a new order, allowing memory and its daily presence to express in a subtle, less concrete way.  © Pablo Casals Aguirre  First Level Plan  © Pablo Casals Aguirre The project’s first step is clearance: the decision of establishing what remains and what is removed. This seeks to preserve the original structural matrix (double band) and, in turn, reusing certain materials that connect with preexistences as, for example, some wooden decorations or the old roof tiles as masonry for the façade. In addition, the slanting volume supported by the original structure together with a storage volume magnify the house’s interior void, providing fresh air and new light.  © Pablo Casals Aguirre  Axonometric  © Pablo Casals Aguirre A long window at the top of the volume allows indirect southern light sky to slide through the curved ceiling formed by the structure’s inverted trusses, integrating a previously missing element: the sky.  © Pablo Casals Aguirre  This posting includes an audio/video/photo media file: Download Now |
| These Images of Abandoned Insane Asylums Show Architecture That Was Designed to Heal Posted: 08 Mar 2017 01:30 AM PST  Courtesy of Matt Van der Velde With cracked paint, overgrown vines, rust, and decay, abandoned buildings have carved out a photographic genre that plays to our complex fascination with the perverse remnants of our past. While intellectual interest in ruins has been recorded for centuries, the popularity and controversy of contemporary "ruin porn" can be traced back to somewhere around 2009, when photographer James Griffioen's feral houses series sparked a conversation about the potential harm in the aesthetic appropriation of urban collapse. A favorite subject within this field is the American insane asylum, whose tragic remains carry echoes of the unsavory history of mental illness treatment in the United States. These state-funded asylums were intensely overcrowded and often housed patients in nightmarish conditions in the 20th century. Beginning in 1955, with the introduction of the antipsychotic drug Thorazine, these institutions were closed in large numbers, never to be reopened [1]. Now, these closed but un-demolished asylums that dot the country are the subject of "ruin porn" that neglects an equally important piece of the buildings' narrative: the beginning. In his recent photobook Abandoned Asylums, Photographer Matt Van der Velde depicts this earlier period of asylum architecture, when the institutions were built in the belief that the built environment has the power to cure.  Courtesy of Matt Van der Velde Prior to the mid-1800s, treatment of the mentally ill often regarded a spectrum of illnesses as dangerous and threatening. The most disadvantaged mentally ill wound up in publically-funded almshouses, as there were no state-funded psychiatric institutions at the time, where they received no treatment and lived in squalid conditions. The lack of specialized care meant that 18th-century "lunatics" often eventually wound up in prisons or chains as the only solution to perceived danger to themselves and society [2].  Courtesy of Matt Van der Velde Change came about in the 1800s from multiple directions. European influence from the Quakers popularized the moral treatment movement in psychiatry, which advocated for humane treatment of patients and a regimented routine. Of significant importance to successful moral treatment was environmental determinism—the belief that one's living environment influences behavior—giving architecture a central role in more humanized psychological treatment [3]. Every element of the built environment was thought to have a potentially curative effect on the mentally ill, and asylums were designed with the intention that patients would eventually be healed and return to society. Because dedicated asylums were new to the United States, some of the first designs were inspired by the Quaker York Retreat moral treatment center in England, with this design reevaluated and adapted as context and budget changed [4].  Courtesy of Matt Van der Velde Victorians believed that industrialization and capitalism were major causes of mental illness. In urban environments, where these forces were most palpable, they believed that the weakest members of society would be unable to handle these modern pressures and eventually become lunatics [5]. Therefore, any viable treatment option could only include physically separating the patients from the city, and the first dedicated asylums were built in areas surrounded by nature. Likewise, the prevailing belief in medical miasma, which theorized that disease was spread through stagnant, dirty air, meant that ventilation had to be prioritized in the design, and that dense, polluted cities were unfit locations for asylums [6]. Ventilation drove the experimental use of pavilions and quadrangles, as well as the incorporation of many small sash windows uncovered by bars [7].  Courtesy of Matt Van der Velde By the 1850s, after educator and lobbyist Dorothea Dix's long-fought battle for state-funded psychiatric institutions, asylum architecture in the United States had begun to develop its own distinctive style. Thomas Story Kirkbride became the definitive voice on the matter after publishing On the Construction, Organization and General Arrangements of Hospitals for the Insane in 1854. While his manifesto was not adhered to exclusively by other architects, it created a set of guidelines for design and became the standard against which all other methods were compared [8].  Courtesy of Matt Van der Velde Kirkbride's asylums incorporated grand classical elements like porticos, cupolas, and columns that, in addition to creating an aesthetically pleasant environment for patients and their families from both upper and lower classes, allowed the buildings to become a source of civic pride. Rather than the shame that the abandoned buildings symbolize today, the Victorian insane asylums were perceived as indications of the community's generosity towards the less fortunate; as charitable, Christian efforts that built merit for the society [2]. More sterile-looking buildings would not have been able to achieve the same effect. Van der Velde's photos show many of these asylums still retain their intended stateliness, rather than the common boarded-up and graffitied images that are ignorant of these features.  Courtesy of Matt Van der Velde Apart from the exterior, Kirkbride also had detailed plans for how to best organize the various programs that an asylum holds. He designed the "linear plan," which placed patients in hierarchical wards that move outwards based on gender and symptoms, with the loudest and most severely ill patients furthest from the center, where they were least disruptive. The building stretched across the property so that all rooms had access to sunlight and fresh air, furthering the importance of ventilation and nature in the treatment process. At the center, where the most luxurious architectural forms were often built, were the parlors and chapel, where patients could socialize with visiting family members without having to take them into the wards. Some of the features meant to humanize the asylums can still be seen in those that remain standing, such as the carpets to dampen sound, plentiful windows for a sense of nature, and carefully crafted molding and ornamentation that one might not usually associate with such spaces.  Courtesy of Matt Van der Velde At the turn of the 20th century, it became clear that most patients did not enter asylums and later return to society after being cured of their illness by their meticulously designed environment and treatment plan. Environmental determinism had lost respect as a psychiatric approach, and funding for asylums was beginning to decrease. The age of humanistic architecture for mental illness had ended, and a new era of surgical treatment characterized by overcrowding, lobotomy, and cruel conditions was ushered in, creating the groundwork for today's remaining abandoned asylums—and our morbid fascination with them.  Courtesy of Matt Van der Velde References:
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| Cyclopean House / Ensamble Studio Posted: 08 Mar 2017 01:00 AM PST  Courtesy of Ensamble Studio
 Courtesy of Ensamble Studio In his first stop on the way home, Ulysses reaches the cave of the Cyclops, a fierce and strong builder who looked through one single point. And there he is locked up until he uses his ingenuity to escape and goes where the winds take him.  Diagram  Courtesy of Ensamble Studio  Diagram Cyclopean House is built, using the vigor of the builder, and the ingenuity of the engineer, to start a journey from the place of its manufacture –Madrid- to the place where it can definitely lie -on top of an existing garage, the ugly duckling of the area, located in a calm residential neighborhood of Brookline. The one-story gloomy construction accommodates the parking, workshop and service spaces, following its basic structural logic, and is completed with the big room built on it by the assembly of the large prefabricated elements that rest after their long transatlantic voyage. This open-plan double-height living area includes the main domestic activities and enables the transformation of the residual building into a two-story residential unit, technologically and spatially adapted to its time and the life of its users.  Courtesy of Ensamble Studio The new architecture concentrates structure and infrastructure in the perimeter: seven beams –of monumental scale- which specialize in one action each -cooking & bathing, storing, seating, dining, sleeping, working, projecting-. The rest of the plan is then cleared to be shared by different events succeeding in time and functions have the option to expand into the central space as needed deciding its temporary layout. The seven programmatic beams configure a thick enclosure that minimizes visual contact with the exterior on the three sides that adjoin neighbor houses and creates a big opening on the street side where the interior space can look at the trees in front and imagine itself in the midst of a park. Complementing this one eye, as beams assemble together embracing space, they lose their mass in the points of contact where flanges touch and the web recesses to provide additional light and ventilation to specific functions. Privacy and thermal insulation is thus guaranteed while maximizing light and view.  Courtesy of Ensamble Studio  Ground Floor Plan  Courtesy of Ensamble Studio  First Floor Plan To avoid overloading the preexisting structure or having to dig new foundations, ultra-light construction systems give form to the new elements: solid cores made of foam -98% air- reinforced by steel profiles and fire-proofed by a thin layer of cement & fibers. Dry joints and material lightness enable the different elements to be produced out of site –including finishes and fixtures- easily transported by ship and regular trucks and quickly placed together following a rhythmic sequence -carefully planned beforehand. Unlike the heavy, cold stone that prevented Ulysses from leaving the cave, Cyclopean House is light and warm, light due its lack of mass, and due to its air coat. It sits and watches without being seen, interlacing its elements after the trip.  Courtesy of Ensamble Studio  This posting includes an audio/video/photo media file: Download Now |
| 6 Eye-Catching Corten Steel Construction Details Posted: 08 Mar 2017 12:00 AM PST  The characteristics of Corten steel has been respected by all architects, both for its strength and for its particular color. It corresponds to a type of steel manufactured with a chemical composition that provides an oxidation that protects the piece, practically without altering its mechanical characteristics. The architectural details of Corten steel present a diversity of situations and connections, not only the obvious constructive factor but it also gives an aesthetic value to any architectural project. We have compiled this list of 6 eye-catching Corten steel construction details that stand out the most. 01. Navarro Correas Winery / aft Arquitectos via © aft Arquitectos 02. Gabriela Mistral Cultural Center / Cristian Fernandez Arquitectos + Lateral Arquitectura & Diseño via © Cristián Fernández Arquitectos + Lateral arquitectura & diseño 03. Audenasa Building / Vaillo + Irigaray via © Vaillo + Irigaray + Eguinoa 04. Nestlé Social Block / GH+A Guillermo Hevia via © GH+A | Guillermo Hevia 05. New "Cabaña" & Accesses to a Country house / Hidalgo Hartmann Courtesy of © Hidalgo Hartmann 06. Dovecote Studio / Haworth Tompkins | Hunter Douglas Courtesy of Haworth Tompkins  This posting includes an audio/video/photo media file: Download Now |
| A+U 542 15:11 RCR Arquitectes - Journey Posted: 07 Mar 2017 11:30 PM PST  Description via Amazon. According to the essay by Enric Batlle i Durany, the landscape plays a very active role in all of RCRs works. The location is not just an additional aspect in their conception process. It is the physical and metaphysical basis of their work. In this marvellous special issue, full of extraordinary images and stories, a portrait emerges of architects Rafael Aranda, Carme Pigem, and Ramón Vilalta that is both intimate and enlightening. It tells about their early years, how they learned from Japan, and gives an overview of recent work. Included are numerous drawings, ink washes, exfoliations, and models made by the office, reflecting both their shared creativity and ongoing dialogues.
 A+U 542 15:11 RCR Arquitectes - Journey  Courtesy of A+U  Courtesy of A+U  Courtesy of A+U  Courtesy of A+U  Courtesy of A+U  This posting includes an audio/video/photo media file: Download Now |
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