Arch Daily |
- Gallery of Furniture / CHYBIK+KRISTOF
- Double Duplex / Batay-Csorba Architects
- Cabin in Chamonix / Pierre Marchand Architects
- Vegetable Trellis / Cong Sinh Architects
- Unicity / D-Werker Architects
- Tree Tops Wild life Bungalow / Chinthaka Wickramage
- The Equalizer / Delution Architect
- The First-Ever International Bamboo Architecture Biennale, Captured by Julien Lanoo
- Rehovot Community Center / Kimmel Eshkolot Architects
- A Room / Salottobuono + Enrico Dusi Architecture
- UK's First "Naked House" Proposal Aims to Bring Affordability to London's Housing Market
- Watch Construction Begin on Heatherwick's Vessel at Hudson Yards
- Residence MG2 / Alain Carle Architecte
- How to Name Your Architecture Practice to Improve Your Chances of Success
- Noe Valley House / IwamotoScott Architecture
- These Axonometric Illustrations Explore the Power of Digital Tools in Architectural Representation
- This Building Saves Energy with a Pioneering Triple-Layer Glass Facade
- Rosemary House / Kohn Shnier Architects
| Gallery of Furniture / CHYBIK+KRISTOF Posted: 24 Apr 2017 10:00 PM PDT  © Lukas Pelech
 © Lukas Pelech From the architect. Façade as a functional banner. The transformation of a former car show room on the outskirts of a housing estate into a site of the MY DVA group, focusing on the production of office, school and metal furniture, represents another finished structure of the young architecture firm CHYBIK + KRISTOF Architects & Urban Designers from Brno. The single-storey building of a poor aesthetic quality turned into a building with a new, easily remembered façade composed of more than 900 black plastic seats. The façade is conceived abstractly, functioning also as a banner advert for the firm itself. After finishing a simple refurbishment of its interior, a new flexible showroom was created presenting the individual segments of the firm´s production in specific, thematically arranged settings.  Axonometry Vinohrady is the name of one of the oldest housing estates built in Brno in the first half of the 1980s. The car show room itself was set up in the 1990s and is a part of a line of nearby commercial buildings, bordering with the four-lane Zarosicka road, which, however, do not enhance the area anyhow. The former state of the building was technically and morally outdated and from the formal point of view, it did not correspond with the needs of the society. Given the fact that it was a temporary investment in the form of a rent and the firm had already been using those premises, the proposed solution had to be cheap and fast. The task was: ˮDo it cheap, ideally for free,ˮ architects Ondrej Chybik and Michal Kristof are reminiscing.  © Lukas Pelech The MY DVA group belongs to the front domestic suppliers of office, school and metal furniture, focusing also on the concepts and realizations of commercial and educational interiors, including some atypical elements. The choice of material, which should have been based on the usage of a minimum amount of money, but with a maximum effect to enhance the former building, therefore, had to be connected with the firm´s production. Thus, the building is cladded by a homogenous product, a plastic black seat for about 80 CZK/1 piece, without any greater adjustments of the exterior. It creates an abstract texture which reflects what is going on inside without another banner advertising. ˮWhat we used is a basic form of an interior chair called Vicenza which the supplier delivers on a regular basis. In this case, however, we used black granulate for the outdoors because it is resistant to different weather conditions, especially UV light.ˮ the architects are describing. The individual seats are fixed on a structure made from steel sections fixed on the façade. In case of a mechanical damage, it is possible to change each piece for a new one, even the façade cleaning can be done easily once or twice a year by a high-pressure cleaner.  © Lukas Pelech The concept of the interior represents the second level of the project and consists of two parts: a showroom and offices with a background for the employers. The inside of the building was demolished. A presentation space of the showroom was created by enlarging the former entrance hall at the centre of the layout and is demarcated by polycarbonate partitions. The floor is unified by means of white screed, on the ceiling remain former fair faced concrete panels and all the new wirings are exposed. Three circular galleries are embedded into this newly created space, representing three different segments of production – school furniture, office furniture and design pieces. The circular cutouts are demarcated by white textile curtains for the full height of the space, they can be closed or let open. Interiors of the cutouts represent three different settings where the flooring material, means of lighting and the colour of the light itself are aimed to correspond with a natural setting that the furniture is intended for. The interstices can be filled with various products or pieces of art, they can be used as a common room for the employees or for get-togethers with clients. The whole space works on the principle of a gallery which can be easily adjusted according to the actual needs.  Scheme Offices for the employees are preserved along the perimeter of the structure, they are illuminated by daylight, have a ventilation and are unified by a grey carpet and white paint.  © Lukas Pelech  This posting includes an audio/video/photo media file: Download Now |
| Double Duplex / Batay-Csorba Architects Posted: 24 Apr 2017 08:00 PM PDT  © Doublespace Photography
 © Doublespace Photography From the architect. The Double Duplex infill project is located on Melbourne Avenue in Toronto's Parkdale neighbourhood, notable for its century-old Victorian and Bay and Gable mansions. The existing double-wide site was severed into two separate properties with a four-storey, 3,500 square foot detached duplex residence constructed on each site, each with two two-storey units.  Axonometric Double Duplex pays tribute to the existing context and the beauty of its craft and local artistry firstly, by abstracting and reinterpreting the pervasive Bay and Gable typology, and secondly, by translating the notion of 19th century craft by way of a two-storey brise soleil. Constructed of a thermally treated softwood, the brise soleil encloses the front and rear balconies, providing privacy and creating a large-scale dynamic facade, illuminating the interior with dappled light during the day, and reading as a glowing lantern during the dark hours.  Axonometric The dynamism of the brise soleil also helps to activate the urban environment below, which was of key importance. As a modern static building facade could not contend with the ornate historical context, the response was to engage the movement of the passing public through the tools of material and spatial depth, referencing a large art installation -- the members of the brise soleil are angled to catch the light differently at different times of the day, illuminating a variety of images as people pass by. Somewhat akin to the cloud animals we've all passed time discovering as children, the screen evokes loose, variable figural associations while still remaining in the realm of affect, giving viewers a free association which is defined at one moment and clouded the next.  © Doublespace Photography Beyond its contextual response, the project also represents strategies for a more dynamic relationship between interior and exterior spaces in the typical narrow and deep Toronto infill lot. Each duplex residence consists of a two-storey lower unit and a two-storey upper unit. The lower unit is carved out in the front and back with double height volumes that flow out to sunken courtyards, maximizing natural daylighting and transgressing the stereotype of the dark and forgotten basement apartment. In the upper unit, the living space is organized around a double-height atrium space which brings natural light and ventilation into the center of the unit, aided by the double-height balcony facing the street.  © Doublespace Photography  This posting includes an audio/video/photo media file: Download Now |
| Cabin in Chamonix / Pierre Marchand Architects Posted: 24 Apr 2017 07:00 PM PDT  © Pascal Tournaire
 © Pascal Tournaire From the architect. At the request of long time clients, we designed and supervised the construction of a new cabin in the Chamonix valley. The site is located within a residential compound built in the 50's. A cabin dating from the original master plan was on the lot. The location benefits from sweeping and stunning views over the Mont Blanc skyline. This majestic view was the starting point of the design.  © Pascal Tournaire After a first programmatic study, it quickly became clear that the existing cabin was not suited for its new use. Thermal constraints and the project's goals didn't justify a remodeling of the existing structure.  © Pascal Tournaire The decision to build a new cabin was therefore taken. It opened the way for a contemporary design allowing a full control over the energy consumption. Thoughts were given to maximizing the heating and ventilation systems. A double split flow system heat exchanger design coupled to an efficient oil boiler was adopted.  © Pascal Tournaire The project was designed around two themes: the view and the quest to maximize direct sun light. A heliodon allows to analyze the sun's impact on the lot and the building. The 3 dimensional modeling of the project on the actual site allowed us to precisely appreciate the amount of natural light coming into the future cabin and frame future views over the Mont Blanc from the interiors. Designed with a mixed insulation, the house is entirely built with a concrete structure and a larch wood panel cladding system.  © Pascal Tournaire The larch panels are designed as a louvered cladding system for the main facades in order to keep views from bathrooms located on the ground and 1st floors. The larch wood used for the facades has special heated treatment in order to hold the color and stop the soot.  Site Plan  Floor Plan The project is set up in its natural surroundings with a stoned base with a log cabin on top. The base houses the technical functions and the garage. The project was built over a short 9 months period.  This posting includes an audio/video/photo media file: Download Now |
| Vegetable Trellis / Cong Sinh Architects Posted: 24 Apr 2017 03:00 PM PDT  © Hiroyuki Oki
 © Hiroyuki Oki From the architect. Today, the target for hunger reduction is on a global scale. In Asia Pacific, 12% of the population is in bad health because of a lack of food, and just in Vietnam from 2014 to 2016, this number is 11%, which means that 10.3 million people are underfed. Global climate change has been influencing the agricultural productivity in many areas. Especially in Vietnam today, sea level rise, droughts and salt marsh usually occur in Southern provinces. The aforementioned problems have greatly affected the national food security, which requires us to have appropriate and practical solutions.  © Hiroyuki Oki The project is the service area beside an auto care center. The visitors of this area and the clients of the center can sit and have a rest here, where part of the food is from the vegetables that are planted in the project. There is a lot of information and knowledge about many types of vegetables available for everyone. Visitors are guided and will have a chance to plant the vegetables right here. They'll also be inspired to grow these plants at their houses. The idea is quite simple: we created a vegetable trellis covering the space for activities below to provide a cool and fresh microclimate, which is a very familiar picture in every Vietnamese people's subconscious mind.  © Hiroyuki Oki The project was built with the aim of reducing climate change. When the construction came into operation, reality has showed that the space is very clean because the air is filtered by a vegetable trellis above. This is a really energy-efficient project as almost only sunlight is used the whole time the center is open every day (6AM - 6PM). Besides, every space is well-ventilated and we don't need to use air conditioners.  © Hiroyuki Oki The design of the ground floor is completely open, which helps connect the spaces indoors and outdoors. So, they can be used flexibly and without limits. This space is a multifunctional one which can become a park, public space, restaurant, a coffee shop or a wedding and convention center, etc. The construction uses eco-friendly materials. The ground floor is tiled with many concrete planks to make it easier for rainwater to penetrate into the ground. This will help decrease flooding in the area.  Exploded Isometric With a simple and useful idea, the architects desire to inspire people to grow vegetables at their homes, not just in Vietnam but also in many other countries around the world.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 24 Apr 2017 01:00 PM PDT  © Inwoo Yeo
 © Inwoo Yeo  Site Plan From the architect. Unicity is the headquarters and research center of Carver Korea, a cosmetic business in South Korea. Carver Korea wants to make a splendid building design to show recent growth of the company.  © Inwoo Yeo However, the condition of the site, located in Mapo, one of the old sections in Seoul, makes hard to design a building to be distinguished in urban scenery. Regarding physical environment of the site, the significantly irregular shaped site locates behind buildings consisted of ordinary neighborhood living facilities. Briefly, the site is hardly visible in surroundings, especially from main streets of City. In addition, due to the legal limitations, the building can be put in only small part of the site, and ground level has to be planned for parking lots. Hence, it was essential for us how to make the building have a standout image within these restrictions.  © Inwoo Yeo At the beginning phase of the project, we took architectural strategy named 'unicity' to obtain 'Identity' of the building by making a unique shape which could be distinguished with surrounding urban scenery. Based on the volume which could be defined by the legal condition, it was adjusted to generate visually distinctive scene from the specific points of the street. With the modification of the building form, we could provide independent outside space for each floor to reflect the peculiarities of the research center that is important to be autonomous with other layers. Moreover, it aimed to replace green spaces, which cannot be provided on the ground, into rooftop gardens.  © Inwoo Yeo In terms of material, we used pine board exposed concrete as the overall material which could show the framework of the building. In some ways, showing uncovered surface of concrete could be understood in the same context as revealing human skin without makeup. It was another strategy to make the identity of the building which reflects the characteristics of Carver Korea, mainly developing aesthetic products improving the essence of skin.  © Inwoo Yeo In the long run, morphological characteristics and space of Unicity will be a medium to acquire the identity of Carver Korea by giving visual excitement to people facing the ordinary urban scenery.  Elevation  Elevation  This posting includes an audio/video/photo media file: Download Now |
| Tree Tops Wild life Bungalow / Chinthaka Wickramage Posted: 24 Apr 2017 12:00 PM PDT  © Thilina Wijesiri
 © Thilina Wijesiri 'Tree Tops', a holiday bungalow built for an extended family of wild life enthusiasts, stands on an acre of land parcel in Tissamaharama, Southern Sri Lanka, overlooking the famous 'Yala' national park; famed for highest density of Leopards in the world.  © Thilina Wijesiri  Site Plan The land is bounded by the 'Yala' main access road from one side and a secondary gravel road on the other, and opens out to the sanctuary of thorny scrub jungles, seasonal waterholes frequented by wild elephants, spotted dear and water birds as well as a great expanse of green paddy fields.  © Thilina Wijesiri  Section The bungalow itself is orientated along North South axis along the length of the land, to a narrow linear plan form in order to obtain the maximum environmental advantage and panoramic views to the building. The building foot print is small, but upper levels have substantial cantilevers, with large over hangs to protect it from the hot tropical sun and the monsoon rains.  © Thilina Wijesiri With a single room thick 'thin' cross section, it captures the views and responds to the changing weather conditions and allow the winds blowing across the paddy fields and the scrub jungle, to blow through the building. A simple and robust form was adapted, to withstand the harsh weather conditions of the region, so that the building will age gracefully, with minimal maintenance. A subdued and a natural colour scheme of Cement and timber were adopted to the buildings so that it will merge with the natural surroundings. Limited palette of materials such as concrete, cement, timber, glass and corrugated zinc aluminium roofing sheets were used to create a simple light weight building. Despite its raised podium and the concrete structure, a gently sloping single pitched roof with vast overhangs was introduced including the use of glass and timbre trellis work, to soften the robustness of the structure. This further is achieved by the layout, where all public functions are located on the ground floor podium which has enabled less solid walls and more open areas, with only one bedroom for the elderly family members, contributing to the balance of solids and voids of the building. Upper floor comprises an open dormitory style sleeping areas, allowing the whole upper floor interior to experience the maximum views at tree canopy level. The use of Dormitory style bedrooms, instead of separate bed rooms have enabled vast expanses of multiple sashed timber framed glass windows, high volumes and undisturbed views across the sanctuary, with ample cross ventilation within the first floor level, leaving a 'camp site' feeling within a built and well protected space.  © Thilina Wijesiri  Elevation The eastern face of the building with its glass door windows and multiple sashed glazed windows and open balconies welcome the much cooler morning sun. Eastern Windows are protected by the mono pitched sloping roof, whereas the west facing façade is shielded by a horizontal timber trellis work, protecting the corridor and the interiors from the harsh evening sun. Timber trellises not only gives a certain softness and elegance to the building exterior, but also contributes to the change of spatial quality within the building by its play of light and shadows, from sun rise to sun set.  © Thilina Wijesiri 'Tree Tops Wild Life bungalow', with its simple and versatile character, is excepted to be an oasis and a refuge, for this busy Colombo family, to reinvigorate and rejuvenate their lives, before another round of their hectic urban lives.  © Thilina Wijesiri  This posting includes an audio/video/photo media file: Download Now |
| The Equalizer / Delution Architect Posted: 24 Apr 2017 10:00 AM PDT  © Fernando Gomulya
 © Fernando Gomulya From the architect. The Equalizer is a metaphorical architectural concept of a rhythm in activity in our lives. Rhythm becomes a key word for Architect in designing building that have 3 main functions that are Production House, Music Studio, and Ballet Studio. The Architect tried to find the red thread from those three activities and finally obtained the ‚ÄòRhytm‚Äô word which is implemented to the Equalizer Shape as a representation of that rhytm. The up-and-down of an equalizer is defined as a rhytm that is not separated from art activities such as film, music, and ballet dance. This shape makes it look like this building has a Rhythm like the activities it carries.  © Fernando Gomulya Begining from the existing mass concept, the architect splited the mass to 2 main parts, which is the first mass has a high-up proportion, and second mass has a frontward proportion, it is a symbolic of conductor‚Äôs hand movement in arranging rhytm, space between the masses is used as an acces and become a T-shape corridor that finally create Triple Cross Ventilation effect, where the wind and sun light could in and out from 3 different paths.  © Fernando Gomulya The shape of the existing square mass is also adjusted to the typical structure distance resulting in cost efficiency during the construction process. The building is designed Glassless which means minimal glass, because the main activity as Studio Music and Studio Film Production requires the condition of space is impermeable, so the glass will optimize the soundproof system in this building. The facade of this building has a small glass extends, not only as a soundproof optimizer but also serves as a western-sun blocker from the front of this building.  Diagram Each floor is given an open communal area as an area of guest interaction, as well as a Greenery Area in this building. On the first floor area there is a little cafetaria which is completed with a pond as an air cooler into the main corridor of this building. Parking area and Barrier wall were made by greenery element so could make the micro climate in this building is more cooler. The walls of the corridors in the building are made from stucco pelondans, so creating a cooler impression on this building  © Fernando Gomulya The metaphor Equalizer concept is applied to various forms of elements in this building, as the main symbol, Fasade is equalized by the outlined brick lights as the element of its affirmation, followed by the form of ceiling lamps, handles, wall decorations, sign space, and ceilling ballet space are to form an equalizer.  © Fernando Gomulya Green architecture element is also applied in this building, not only by observing the cross ventilation effect and greenery, the architect also design 85% of the outside 1st Floor area to be a soil recharge area, that implemented in Carport grass and grassblock in the service area, so it becomes a good rainwater percolator.  © Fernando Gomulya  This posting includes an audio/video/photo media file: Download Now |
| The First-Ever International Bamboo Architecture Biennale, Captured by Julien Lanoo Posted: 24 Apr 2017 09:00 AM PDT  © Julien Lanoo Last september, the first-ever International Bamboo Architecture Biennale was held in the peaceful village of Baoxi in China's Zhejiang province. Curated by local artist Ge Qiantao and architect George Kunihiro, the event saw the construction of 18 bamboo-centered structures designed by 12 architects, including notable names such as Kengo Kuma, Vo Trong Nghia, Anna Herringer, Li Xiaodong and Simon Velez. Aimed at exploring the potential of the sustainable material within contemporary architecture, the structures were built as permanent fixtures that will continue to serve the town after the Biennale's close. In this photoset, photographer Julien Lanoo has captured the vibrant results of the inaugural event, exhibiting the structures against the rural mountain landscape. The 2016 International Bamboo Architecture Biennale included: Bridge / Ge Quantao (China)  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo See more of Julien Lanoo's work, here.  This posting includes an audio/video/photo media file: Download Now |
| Rehovot Community Center / Kimmel Eshkolot Architects Posted: 24 Apr 2017 08:00 AM PDT  © Amit Geron
 Floors Plan From the architect. Creating a new urban plaza, the project includes studios for dance, music, sports and a library. Completed in 2016. The community center includes a variety of spaces, such as an arts and crafts workshop, music rooms, dance studios, martial-arts studios, a multi-purpose hall and a 'youth wing'. Next to the main building is a library, which operates as a multi-media center, attracting visitors of all ages for a variety of activities. The two buildings are designed to operate together and separately.  © Amit Geron The project is built in a new neighborhood in the city of Rehovot, called New Rehovot, which is an area in development stages. The site is located in the center of the neighborhood which is designated for public buildings; some of which have already been built, such as an elementary school and a sports-center. Tall residential buildings are yet to be built in the area.  © Amit Geron Since the scale of the urban scale in this area is quite big, we wanted the buildings to introduce an urban-friendly scale, meaning that not only the users will enjoy the inner piazza within the project, but also pedestrians would take the short-cut and stroll through the project while going somewhere else. This idea was one of the generators of the design, and led to planning of the two buildings around a protected courtyard, which also connects between the school on its east side and the sports-center to its north.  © Amit Geron The main building has two floors, where the upper floor is hovering over the ground floor providing shading from the hot summer sun. It is also designed in a way that exposes the activities, such as the dance studios, in order to attract people to come and participate. The library is designed around a wall of books, which also projects to the facades. Its roof serves as a terrace which provides a separate access to the youth wing through a small bridge. The stairs climbing to the roof include seating areas, creating an intimate amphitheater space for small outdoor performances.  © Amit Geron Sustainability is of major importance in the project. The facades are treated with shading elements of bamboo profiles, and the courtyard is partly shaded throughout the year, while also being protected from street noise. The building is fully accessible to people with disabilities. The community center was funded by Keren Hayesod Switzerland, under Chairman Sami Bollag. The library was funded by Mifal Hapeis.  © Amit Geron Product Description: One of the principal materials is the BPC used for the brise soleil: The brise soleil are covering the long façades of the hovering volume, creating a continuous appearance, while shading over large windows against the intensive Israeli sun. Indoors, the brise soleil creates a varying pattern of light and shadow over the white walls and dark floors. For those who cross the piazza, outdoor stairs, bridge and roof terrace, the brise soleil alternately expose the activity inside. The BPC is built as a profile which enables hiding the construction within its width. The material of bamboo polymer composite is designed for outdoors conditions, while bringing a sense of warmth to the environment of light plaster and grey stone.  © Amit Geron  This posting includes an audio/video/photo media file: Download Now |
| A Room / Salottobuono + Enrico Dusi Architecture Posted: 24 Apr 2017 06:00 AM PDT  © Moritz Bernoully
From the architect. Temporary pavilion Mextrópoli.  © Moritz Bernoully The ROOM includes certain things and excludes others: it separates an interior from an exterior space. It produces a small region where the urban pressure of Mexico City is both absorbed and provisionally suspended. Outside, the walls provide 120 m2 of total exhibition surface for the festival purposes. But they can also be painted, used to hold temporary structures, covered with advertisment, vandalized. Inside, a silent "fragment of desert" holds the memory of the origin of the city. It doesn't suggest any specific activity, nor tries to forsee them. Its gentle slope is generous enough to accept the unpredictable.  Axonometric in Context  Axonometric Finally, the ROOM can be easily dismantled or, rather, demolished. Its ordinary construction material can be collected and recycled. New concrete blocks can be produced from the old ones. But the ROOM is meant to stay. Recycling the pavilion here doesn't necessarily mean moving it somewhere else. Confronted with an expected life-span of two weeks, the effort needed for the production of even the most "ephemeral" architectural work is simply nonsensical. We'd rather imagine, and hope, that the real life of the ROOM would begin at the very end of the festival, when the whole city will finally project its dreams and desires on this tiny artifact.  © Moritz Bernoully  © Moritz Bernoully  This posting includes an audio/video/photo media file: Download Now |
| UK's First "Naked House" Proposal Aims to Bring Affordability to London's Housing Market Posted: 24 Apr 2017 05:45 AM PDT  Elevation. Image Courtesy of OMMX The average cost of a home in London has now reached over £500,000 ($640,000), a figure far beyond the reach of the large majority of individuals or families on or below the average UK income (£34,473, or just under $45,000, per year). It's a story which has been told time and again in recent years; the "housing crisis" of affordability continues to exacerbate the lives of a generation. For Naked House, a not-for-profit organization dedicated to "stripping affordable housing back to the bare essentials," crisis necessitates a creative response. With support and funding from the GLA (Greater London Authority) and the incumbent Mayor of London, who has awarded a £500,000 grant to the development, they—in collaboration with OMMX—have now made an important step closer to realizing their vision.  Perspective based on the urban typology of a "Mews". Image Courtesy of OMMX The premise is simple: "the Naked House unit will be a well-designed shell." In practice, this requires the construction of a "base layer" that can be adapted, extended and improved over time – but it is only part of the formula needed to drive down the build cost of homes. The cost of land, for example—which is often the most significant tariff—has been removed in favor of a leasehold arrangement on public land. Rather than incur hefty charges right off the mark (and charged to the buyer), this means that occupants will pay a "monthly ground rent" to the local authority who owns the land. And to ensure that the Naked House units "remain affordable in perpetuity," the developers have a resale covenant in the lease which "locks in the original discount for subsequent purchasers." According to the developers:
OMMX, the London-based practice behind the design of the twenty-two homes which will be built across three "constrained" sites in the north of the British capital, have developed designs which ensure that living standards are both maintained and exceeded. Based on the urban typology of the Mews—typically a row of houses converted from stables, or built to appear as such—each dwelling will be "constructed from robust, cheap, DIY and 'Design & Build' friendly materials." The intention is to provide enough flexibility "to ensure that the building can be easily adapted for future use over its design life" of up to a century.
In order to maintain long-term relevance, therefore, each house will both anticipate and encourage future adaptation. "Half-Finished" social housing, while not a new concept, faces specific challenges in the consumer-context of London. In their naked state, "the houses are completely open plan and fitted with a minimal number of appliances and fittings." 50 square meters (around 540 square feet) of open plan dwelling will be initially provided to each resident, this floor area could then be expanded in one of two ways: through a rear extension or by infilling the double height space within the envelope of the existing shell.  Interior space. Image Courtesy of OMMX In relation to the former, foundations will be laid so that a rear extension could make use of a full-height garden wall designed into the scheme, which will sit against the boundary of the site. According to the architects, "this means that the resident need only construct a roof and insulate within to enclose a new well-proportioned room." As the enclosing wall will have already been built, "a party wall agreement with the neighbors is already in place for the extension." In their fully-adapted state, each house will have the potential to achieve 87 square meters (around 935 square feet) – equivalent to a three-bedroom, four person two-storey home according to the current London Housing Design Guide.  Site model. Image Courtesy of OMMX  Sectional model. Image Courtesy of OMMX If a resident would like more space without extending the physical envelope of the existing building, the option is there to "build out from the mezzanine provided to form a two storey house." To accommodate this, an internal concrete shelf will "protrude from the block-work walls around the perimeter," allowing residents to "easily support timber joists from this shelf to form a new floor." The weather barrier of the roof will sit above the structure to enable the resident to easily replace the solid panels with glazed panel in order to build-in roof lights.
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| Watch Construction Begin on Heatherwick's Vessel at Hudson Yards Posted: 24 Apr 2017 05:00 AM PDT Construction has officially begun on Vessel, the 15-story tall staircase sculpture designed by Heatherwick Studio that will serve as the centerpiece of New York's massive new Hudson Yards development. To build the structure, 75 individual units are being prefabricated by Cimolai S.p.A. in their Monfalcone, Italy facility, then shipped to New York where they will be assembled on site. These first 10 of these pieces have now completed their 15-day overseas journey, with the remaining pieces scheduled to arrive on-site and put into place over the coming year.  The first piece in transit. Image © Related-Oxford "This is a special moment as Vessel begins being assembled at Hudson Yards," commented Thomas Heatherwick, Founder of Heatherwick Studio. "As one of the most complex and ambitious pieces of steelwork ever made, the next months will provide a one-off opportunity to see a future extraordinary structure emerge for New York. There are so many buildings and projects I wish I saw being made. So, for those who are interested, I hope it will turn out to have been worth heading up onto the High Line to catch a glimpse of the complex geometry being pieced together like an incredible jigsaw puzzle."  The first piece in transit. Image © Related-Oxford  The first piece in transit. Image © Related-Oxford Vessel will consist of 154 interconnecting flights of stairs, 2,500 individual steps, and 80 landings, totaling one-mile of vertically climbing pathways. The structure will widen considerably as it rises, from a 50-foot-diameter base to 150 feet at its peak, to offer expansive views of the Hudson Yards development and Manhattan's West Side.  The first piece in transit. Image © Related-Oxford "We are thrilled to commence construction on Vessel, the centerpiece and heart of the Public Square and Gardens at Hudson Yards. An extraordinary amount of work by artisans and craftsman has gone into reaching this day and we are excited to invite New Yorkers and visitors alike to watch its rise over the upcoming months," said Stephen M. Ross, Chairman of Related Companies. "The interactive, engaging, innovative and beautiful structure embodies our city's energy, activity and movement, and we look forward to the day when all can experience and experiment with it."  Stephen Ross and Thomas Heatherwick on the 3rd Level of the Vessel in Monfalcone, Italy. Image © Related-Oxford Vessel is anticipated to top out by the end of the year, well ahead of its scheduled opening along with the whole Public Square and Gardens in Fall 2018. The garden's first 40 trees will be planted later this year. Upon completion, the public square will house more than 8,000 plants and 200 mature trees, including a wide variety of woodland plants and perennial gardens, as well as a 200-foot-long fountain that will mirror the flow of a river. See the first piece's full journey in the gallery below, and check out the latest timelapse video of Hudson Yards' construction here: News via Related Companies.  This posting includes an audio/video/photo media file: Download Now |
| Residence MG2 / Alain Carle Architecte Posted: 24 Apr 2017 04:00 AM PDT  © James Brittain
 © James Brittain From the architect. This residence's occupancy program has been fragmented into four pavilions, according to an organic plan, freeing a central space that looks completely outward. A little like the "heart of a village", this space links the other building bodies, geometrically distinct from each other.  © James Brittain This architectural composition arises more from the special topography of the site than from a formal preconception. The site's gentle slope therefore favoured "tiered" development, offering a constant influx of light to all spaces.  © James Brittain The most southerly pavilion contains the living room, the more social spaces of the residence, and opens generously to the outdoors so as to offer a greater energy gain during the winter. The volume is open, with very little programmatic hierarchy. It essentially combines the functions related to meal preparation in all the aspects that bring people together: not a kitchen/living room/dining room but rather a versatile space for convivially receiving guests.  © James Brittain The other wings, more dedicated to sleeping areas, leave room for generous water spaces for bodily relaxation. One of these wings includes the owners' private areas, while the guest rooms are laid out in the other. Dry and wet saunas and big showers punctuate the spaces of these volumes and give the premises a "lived-in" look and feel. Outside, the traditional swimming pool has been replaced with a small coldwater pond that complements the sequence of saunas and steam baths of these pavilions.  © James Brittain One last volume, accommodating work places on two levels, is located away from the home's living areas, separated by a protective outdoor space. This volume stands out for its somewhat symmetrical form, with a peaked roof, and is positioned upstream from the rest of the building to play the role of "guest wing" for visitors who sometimes come for business. Finally, the lower floor accommodates a work zone, a maintenance and do-it-yourself workshop.  © James Brittain The workmanship of each pavilion creates a heterogeneous whole, in light of the design approach that left room for "found material" (both for cladding and carpentry) instead of a rigid esthetic diktat. Ultimately, this is an earth-rooted architecture, produced with a completely different "design time". The form emerges from the soil, but also from history, from a patient search for material that is "already there". Its organic nature refers to our rural traditions rather than modernist canons calling for novelty at any price.  © James Brittain  Plan  Plan Product Description: This project's materials were largely recycled: the interior and exterior wall claddings come from an abandoned sawmill, and the paving stones were recovered from an old quarry. The house faces south to allow a passive energy gain which, combined with a geothermal system, ensures overall energy efficiency.  This posting includes an audio/video/photo media file: Download Now |
| How to Name Your Architecture Practice to Improve Your Chances of Success Posted: 24 Apr 2017 02:30 AM PDT The single most important thing that an architecture firm can do to become successful is to create good architecture. Unfortunately, there are many other considerations to business success, especially in our current world that is driven by PR and marketing. For every architecture firm's founder, one of the first—and biggest—decisions they must make about their public profile is what to call the company. Gone are the days when architects would simply name their firm after themselves and sell their designs to their cocktail party associates. Today, architects need to court new clients in a competitive marketplace, and to do that they need a name that stands out. To help new firm owners (and long-term dreamers) to pick out an effective name and return to the important business of architecture, here is ArchDaily's list of things to consider when naming your firm. 1. Selecting an Original, Memorable NameOf course, the most important part of choosing a name is selecting something memorable which is connected, in some way, to the company itself. There are two main options here: Option 1: Naming the Practice After Yourself Using one's own name as the basis for the practice name has fallen out of fashion recently, as many architects have begun to emphasize collaboration over the concept of the individual "hero-architect." However, from a purely practical standpoint, there's nothing fundamentally wrong with this approach. However, this approach requires a difficult moment of self-reflection among firm owners, since—and this may be hard for some to hear—not everybody's name is unique or interesting. If your name is John Smith or Emma Jones, this approach probably isn't for you. If you're setting up a partnership, the combination of two or more last names make it more likely that you'll get a catchy result—but for every combination as memorable as Venturi and Scott Brown, there's a Johnston and Lee out there too (the latter got around this issue by cleverly throwing in a first name to create Johnston Marklee). Another option within this genre of names is to name the practice after yourself and then use that name's acronym—the approach taken by practices like BIG and MVRDV. However, it's important to know that sometimes real names are more memorable than a string of letters, so knowing whether you should use this technique can be something of an art form. Picking an Original Name An increasingly popular approach is to invent a name from scratch. The benefit of this approach is that it allows you to build some marketing right into your firm's name, by inventing a name that somehow reflects the values of your practice. One of the earliest and most well-known examples of this approach is OMA, the Office for Metropolitan Architecture. However, if taking this approach, be careful to avoid cliches or anything too forced. This is a chance for you to prove your creativity to prospective clients, and you don't want to fall at the first hurdle. 2. Cultural ConsiderationsConsider How Your Name Works in Other Languages If you're planning to run a local practice, this probably won't affect you much. But for those with international ambitions, it will pay to run your name through Google Translate in a few languages first (or if possible, ask people who speak those languages). You don't want your future clients to find your name offensive! 3. Legal ConsiderationsCheck That Your Name Isn't Already Taken The world is a big place, and there are only so many names in it. If you name your practice using your own name, or if your invented name isn't as original as you thought, you might find that another architectural practice has already had the same idea. If that practice is in the same country as you, this can be a serious problem, as in many countries the older company can legally force the new one to change its name to protect their business interests. However, two practices in different countries with the same name can still cause confusion, and the situation should be avoided if possible. 4. Technical ConsiderationsCheck That a URL is Available One of the central components to marketing a firm these days is to have a company website, and that website should be easy to find. Just as you should make sure that another architecture firm hasn't already taken your name, you should make sure that another company (of any type) hasn't already taken the most sensible URL for that name. Don't Use Punctuation or Unusual Formatting! Less than decade ago, strange, quirky punctuation began appearing in project names and even some firm names throughout the architecture world. Thankfully, the practice seems to be on the decline, but perhaps not quickly enough. Web URLs will make a mockery of your cleverly-placed square brackets and your superscript formatting—and we're not just talking about your own URL. If you're planning on publishing your work on any online media outlet, ArchDaily included, your work is likely to be organized using tagging or a similar system, and quite possibly every website will botch your name in a different way. This rule even extends to simply writing about your firm. If your name includes punctuation, how are readers supposed to know that the punctuation in your name shouldn't affect how the overall sentence is read? 5. PR ConsiderationsConsider Your "Short Name" Unless your firm's name is already very short, it's likely that in conversations and in writing, people will shorten it for convenience. There are two main ways this can be done: by dropping the most generic part of your name or by using an acronym. In some cases, both techniques might be used for the same practice—for example, depending on the context, "Rogers Stirk Harbour + Partners" might be referred to either as simply "Rogers Stirk Harbour" or "RSH+P." It's a good idea to exercise some control over this. If your firm's name is long, there's probably not much you can do to stop people doing this, but you can plant the seed for your preferred version by using it on your website and in any official communications such as emails and press releases. Clients and the media will likely adopt the short version that they have already seen before. Is It Clear How Your Name Is Pronounced? It can be easy to forget, in our advertising-saturated world, that word of mouth is still among the most powerful forms of advertising. Word of mouth is made even more effective when everyone is on the same wavelength about how to pronounce your firm's name. Know Your Own Name! This may sound obvious, but you'd be surprised how many employees of "ABC Architects" think that their firm's name is interchangeable with "ABC Architecture." The same goes for capitalization and other details of how your firm's name is written—make sure that every time you or an employee writes the firm's name, it is written exactly the same. If your firm name has a "short version" as outlined above, make sure that it is only used in such a way that the full version is obviously the official one. 6. There Are Always ExceptionsOnce again: the best way to find success as an architecture firm is to be good architects. That's why, even with all of the above considered, there are still firms like Coop Himmelb(l)au or 5468796 Architecture who find success despite their clearly unusual firm names. And, if your work is good enough, you may even find people take pride in remembering that string of numbers correctly, or explaining how the parentheses turn the name into a clever pun. An unusual name can be a marketing gimmick in itself. But becoming well-known takes time, and while you're languishing in obscurity your name might be hindering you from making the next step. Breaking the rules outlined in this article isn't a death sentence, but it does require bravery and determination.  This posting includes an audio/video/photo media file: Download Now |
| Noe Valley House / IwamotoScott Architecture Posted: 24 Apr 2017 02:00 AM PDT  © Bruce Damonte
 © Bruce Damonte From the architect. This new four level house on a steep street in San Francisco's Noe Valley neighborhood is designed to respond to opportunities presented by its site and situation, including: the morphology of neighboring infill urban fabric, and possibilities of a walkout rear yard and distant views in the downhill direction to the east and north. The house's interior is organized around a central lightwell and stairwell. The lightwell is positioned in relation to an existing lightwell of the neighboring house, Situated at the heart of the house, the lightwell and stairwell act together to bring in natural light and views to the sky. They also become the spatial hinge between living/dining and kitchen/family on the main living level, and between kids' and parents' bedrooms on the upper sleeping level.  Floor Plan  Floor Plan The angled facade is designed to adapt to different setbacks of the neighboring houses, and in response to the downhill views to the northeast. Exterior materials include a wood rainscreen of stained clear cedar vertical boards alternating with blackened spacer boards, aluminum windows with clear cedar casing, and cast-in-place concrete sitework.  © Bruce Damonte The lower level has a media room and guest accommodations behind the garage, connected to the rear yard via stairways situated along both sides of the site. The main level is entered a few steps above street level, and houses the Living Room, Dining, Kitchen, Breakfast nook and Family Room in an open arrangement connected with the rear yard. The rear yard acts as an extension of the main living spaces accessed via a large, pocketed sliding glass door opening in the Family Room. The rear yard design incorporates a wood deck, stone tile terrace, built-in benches and fire pit, and a stained cedar fence with built in lighting and planter pockets. Bedrooms and bathrooms are located on the third level and flank the central lightwell and stairwell. The bedrooms have corner windows capturing views to the east. The stairwell culminates at a roof deck on the top level, offering panoramic views toward downtown San Francisco and the Bay.  © Bruce Damonte Sustainable design features include a 6000-gallon rainwater capture tank beneath the back yard, integral graywater treatment system, and photovoltaic solar array on the rooftop.  © Bruce Damonte  This posting includes an audio/video/photo media file: Download Now |
| These Axonometric Illustrations Explore the Power of Digital Tools in Architectural Representation Posted: 24 Apr 2017 01:00 AM PDT Through his illustrations, architect Fernando Neyra tackles issues common to the discipline, for example, the need for a means of graphic style that can create a clear, visually-enticing representation of an architectural idea. The following series of explorative illustrations shows how digital sketching becomes a powerful communication tool when paired with traditional systems of representation, such as the axonometric perspective. The result provides us with an understanding of core architectural concepts, while allowing us to reflect on the role of the sketch in contemporary architecture.  Cortesía de Fernando Neyra  Cortesía de Fernando Neyra  Cortesía de Fernando Neyra  Cortesía de Fernando Neyra  Cortesía de Fernando Neyra  Cortesía de Fernando Neyra  Cortesía de Fernando Neyra  Cortesía de Fernando Neyra  Cortesía de Fernando Neyra  Cortesía de Fernando Neyra Check out more digital sketches by Fernando Neyra here.  This posting includes an audio/video/photo media file: Download Now |
| This Building Saves Energy with a Pioneering Triple-Layer Glass Facade Posted: 23 Apr 2017 11:00 PM PDT  © Adrien Buchet Italian firm Giovanni Vaccarini Architetti has designed the new Headquarters of the Swiss Société Privée de Gérance (SPG), built on Route de Chêne, at the gates of the historical center of Geneva. The work involved the conversion and extension of the existing building, starting with a glass façade that meets the need for solar shading in the interiors while achieving maximum visual permeability. This façade also improves the acoustic and thermal insulation performance of the building: the double skin allows the envelope to be naturally ventilated and the perimeter ventilation system, combined with the internal forced ventilation system, reduces overall energy consumption. The steel structural elements on the façade, produced by Stahlbau Pichler (a specialist in the sector) produce a modular rhythm and the reflections on the glass shading panels give the project a particular "material weight."  © Adrien Buchet Description by the Architects. Time and MovementThe façade system is defined by simple rules which, through their repetition, produce a complex design of elements that varies with time and with the light conditions. The architect was inspired by the principles of Kandinsky, identifying the time variable and his capacity to achieve a scanning of the surfaces as capable of defining the compositional rhythm that shifts one’s perception of the architectural volume.
 © Adrien Buchet The Augmented WindowThe envelope is comprised of a triple layer of glass (hot chamber) added to which is a fourth layer with a ventilated chamber containing the package of micro-perforated Venetian blinds to regulate the light. Brise-soleil screens made of screen-printed glass are anchored on the outside, giving the façade’s external surface a variable modular pattern in terms of both the panel dimensions and the design on their surface.  Cortesía de Giovanni Vaccarini Architetti The screen-printed graphic element on the screening panels helps to emphasize the reverberation effect produced, softening the perimeter surface of the building in a sort of evanescent and bright “nebula,” as Giovanni Vaccarini defines it. At night the glass panels are lit by white LED lights that bring the architectural block to life and make it shimmer, in dialogue with the nighttime urban landscape in which it is set. Seen from the inside, the glass envelope produces an effect that Giovanni Vaccarini describes as the “augmented window,” through which the view of the environment surrounding the building is amplified, reflected and transformed by the blades of light. From the outside, the “thick” surface of the screen-printed glass panels and the steel become a volume and define the very body of the architecture, whose outlines dematerialize into a pulsating material entity sensitive to color changes in the surrounding area. The effect of this is that our perception of the building is continuously transformed. The overlapping visions we have of it, from both the inside and out, produce a kinetic effect.  © Adrien Buchet  Cortesía de Giovanni Vaccarini Architetti  Cortesía de Giovanni Vaccarini Architetti For this project, Stahlbau Pichler conceived a specific engineering system that would allow the “glass fins” that characterize the envelope of the building to be anchored individually. This system was fundamental to reduce all visual encumbrances to a minimum and hence allow the highest possible precision and integrity to the facade, as required by the architectural project. Static and aesthetic needs came together. It was also very important to reduce all weights to a minimum so as to manage the 100 tons of glass that have been added onto a pre-existing building that had its own structural constraints.  © Adrien Buchet The “Deep into the Surface” short-film, directed by Claudio Esposito and produced by The Piranesi Experience, in collaboration with The Architecture Player, investigates the abstract and conceptual dimension that architect Giovanni Vaccarini imparted to the façade system that characterizes the building of the SPG Headquarters in Geneva. A game made of simple rules, whose reiteration produces a complex play of elements to the point that its perception varies with weather and lights. The photography by Fabio Paolucci and the original soundtrack by Populous underline the exploration of these qualities and let the spectator perceive the depth of the surface and its apparent movement. Find more glass-related products here.  This posting includes an audio/video/photo media file: Download Now |
| Rosemary House / Kohn Shnier Architects Posted: 23 Apr 2017 10:00 PM PDT  © Doublespace Photography
 First Floor Plan From the architect. The project is the design of a new home for a young family with two working parents and three children. The new house replaces an existing house on a conventional mid-town residential lot in the City of Toronto. Similar in area to the original house, the new design emphasizes fluid relationships between, and within, shared family spaces—both indoor and outdoor. Accommodating a large art collection, as well as the desire to preserve and engage a large tree in the rear yard are two important requirements.  © Doublespace Photography Designed for a larger than average family, Rosemary House encourages modern family living that is interactive, open to choices, and growth. This is achieved by planning for living, working and playing in spaces that are zoned, yet not necessarily enclosed. Circulation, planned with continuous loops and visual overlook, provides for art display; endless running space for children; and continuous contact between family members.  © Doublespace Photography A unique "pleated" ceiling element creates dynamic movement throughout the volume; this contrasts the simple nature of the spaces in plan. Simultaneously, the ceiling provides acoustic performance and ambient and task lighting for the art collection.  © Doublespace Photography The modest two-storey mass of the house sits unobtrusively within the neighborhood. While it is distinct from its pseudo-Tudor neighbors, it is neither overshadowed nor dominant in that distinction. It is setback slightly further than the original house, to better align with its neighbours. An innovative use of custom solid limestone masonry is tonally sympathetic with other homes, yet demonstrates how contemporary design can contribute difference.  © Doublespace Photography The existing trees on the property have been preserved. The healthy ash tree in the backyard around which the east elevation unfolds, has been carefully pre-treated to facilitate longevity. The Rosemary House's efficient design minimizes its impact on the environment during its entire lifespan by using the following measures:  © Doublespace Photography • Simple volume, strategic use of glass, in-floor heating, maximizing soft landscaping on site • Use of robust materials require minimum life cycle costs • Materials, finishes and furniture are 0 VOC, sustainable and natural for a healthy living environment • No plastics or vinyl used • Old Ash Tree prophylactically treated to preserve against Ash Borer • Glazing design optimized to provide glass to solid wall ratio providing both ample natural light yet well insulated envelope.  © Doublespace Photography The compact stacked footprint of the house permits the use of robust, high quality materials and products within the budget. As a counterpoint to much larger homes being built in the neighbourhood, this modern home encourages larger living in smaller, useable and flexible space.  © Doublespace Photography The house sits on a relatively conventional site in a well-established neighborhood. The design of the house seeks to find the 'sweet spot' between formal innovations that break with conventional boundaries of its neighbours yet respects the essential qualities of its context. The exaggerated horizontal coursing and subtle pleating of the limestone masonry ensures that this house, though smaller than most of its neighbours, is distinct without being abstentious or trendy. It is innovative and assertive, yet modest and familiar. It is a home that will always be understood as both of its time; and a classic.  Section  This posting includes an audio/video/photo media file: Download Now |
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