Arch Daily |
- Duna / Bergen School of Architecture + Slovak University of Technology in Bratislava
- Eurasia Tunnel Operation and Maintenance Building / GMW MIMARLIK
- KIDO Sushi Bar / DA architects
- G-Residence / Gali Amit
- demoH Home / Lynk Architect
- Pangyo Ondang / OfAA
- Call for Papers: Society of Architectural Historians 71st Annual International Conference
- Surry Hills House / Benn & Penna Architecture
- BIG's Serpentine Pavilion to be Moved to Permanent Home in Vancouver
- La Stella Ranch / AE Arquitectos
- WOHA On Why High-Density Living Doesn't Mean Sacrificing Nice Things
- Armazém Luxury Housing / Pedra Líquida
- OMA to Regenerate Historic Columbia Circle in Shanghai
- High House / DELORDINAIRE
- Lascaux IV / Snøhetta + Casson Mann
- 5 Stages of Creativity That Architects Experience With Every Project
- Winners of the 2017 Architectural Review MIPIM Future Project Awards Announced
- "Architecture of the Portrait": Illustrations by Francisca Álvarez Ainzúa
| Duna / Bergen School of Architecture + Slovak University of Technology in Bratislava Posted: 03 Apr 2017 10:00 PM PDT  © Noro Knap
 © Noro Knap From the architect. Next to Europe's second longest river, The Danube, in between reed and hovering trees, you'll enter a curved wooden room facing the horizon, just big enough for you and your kids to grab a lunch while looking at the birds nesting in the river. The project is a result of a design-built workshop as a collaboration between Bergen School of Architecture(BAS) and Slovak University of Technology in Bratislava(STUBA).  Duna Map BAS has a long tradition of teaching architecture through practical work. 1:1 sketching is an important way to both solve issues and recognising new solutions, getting an understanding of dimension and scale. During the spring semester 2016, 10 students from BAS and 15 students from STUBA completed the construction with financial support from EEA Grants and the state budget of the Slovak Republic from the EEA Scholarship Program Slovakia.  © Noro Knap  © Noro Knap Duna is placed at Hrušovská zdž 18 kilometers outside of Bratislava. The site is known for its vast birdlife during the winter season and during the summer season people use the area as a public park. Along the site runs a paved bike road, it stretches through Slovakia, Austria and further into Germany. Last year almost 40.000 bikers biked the famous stretch.  © Noro Knap  Floor Plan  © Noro Knap The construction was built to be as subtle to the consisting site as possible. The foundation consist of 15 large scale earth screws, which are easily removed manually if necessary. The structure is made out of 95 percent wood. Consisting of 5 CNC-cut plywood beams stretching 12 meters in total length. Both the interior and exterior cladding is made out flexible wooden boards from local Slovakian pine. The cladding is placed in layers to provide sufficient strength.  © Noro Knap The site is the most important wintering place for some species of waterbirds in Europe. If the winter is cold enough, more than 100 000 birds can be encountered within this area and more than 115 species of birds are registered. As a result, this site is a part of a protected area for bird species. Species commonly seen during the winter season is tufted ducks, Pochards, Goldeneyes, the Smew and rather rare species such as the Pygmy cormorants and the magnificent White-tailed eagles.  Cross Section During migration (spring migration from February till May and autumn migration from August till November) various species such as mute swans, common Pochards, tufted ducks can be spotted here. Almost all the types of the Anatidae family(including ducks, geese and swans) is seen at the site. If you're lucky you'll might see more rare species(Caspian terns or Ospreys). During the nesting period the rare Mediterranean gulls are to be found as well as the blackheaded gulls. In summer, the turquoise common kingfisher can be seen flying over the water surface. Information and drawings about the different bird species is hung up in the inner room, spreading information about the existing bird activities happening on the site.  © Noro Knap  This posting includes an audio/video/photo media file: Download Now |
| Eurasia Tunnel Operation and Maintenance Building / GMW MIMARLIK Posted: 03 Apr 2017 08:00 PM PDT  © Gurkan Akay
 © Gurkan Akay From the architect. GMW MIMARLIK, under the leadership of Ali Evrenay Ozveren, Dicle Demircioglu and Pinar Ilki Emekci, has been responsible for major transportation projects around the world including several international airport terminals and train stations. One of their recent commissions was for the design of the Operations & Maintenance Building for the Eurasia Tunnel of Istanbul's Bosphorus.  © Gurkan Akay  Sections  © Gurkan Akay Operations & Maintenance Building is the nerve center of Eurasia Tunnel, a major infrastructure project connecting the Asian and European sides of Istanbul's Bosphorus, having a 14.4m diameter and 5.4km long two-deck, 3.4km of which is bored 25m below the sea bed.  © Gurkan Akay   © Gurkan Akay The 2-storey tube-like built form of the O&M Building hovers above the ground level maintenance facilities, and symbolizes the tunnel entry from the Asian side. The design objective has been to create a contemporary building with a distinctive architectural expression, which not only meets its functional and technical requirements but also responds to its immediate context and symbolizes the highest technological level of Eurasia Tunnel. The natural contours of the site have been maintained as a landscaped hill and the maintenance components of the building have been disguised behind the site contours leaving the office structure floating freely above. The double-skin façades protect the energy efficient building interior from the sun. The outer skin formed in perforated metal panels, with a subtle wave-like motif, not only serve to provide solar protection but also create a glowing symbol for this great engineering feat at night.  © Gurkan Akay  This posting includes an audio/video/photo media file: Download Now |
| KIDO Sushi Bar / DA architects Posted: 03 Apr 2017 07:00 PM PDT  © Boris Lvovskiy
 © Boris Lvovskiy From the architect. A small sushi bar, which is part of the KIDO network, is located in one of the dormitory districts of St. Petersburg. In this project it was very important to make an interior that would instantly attract the attention of passing by and driving by public to a new place.  © Boris Lvovskiy As a basis there was a rather small and simple space. We wanted to save this simplicity and make the main emphasis on a really unusual, memorable structure. Thus, an impressive wooden construction was created, located opposite the panoramic windows, consisting of more than 400 volumetric triangles. Moving from the wall to the ceiling resembling a wave, it envelops the entire main hall of the restaurant and creates a "shell" of the space.  © Boris Lvovskiy Visually, we wanted to create something that provokes an instant association with the Asia theme, but without the use of direct references, which are so often seen in oriental restaurants.  Floor Plan The structure of triangles just became such an element. It is also reminiscent of classical Asian wooden building constructions, Japanese geometric ornaments, and partly origami details.  © Boris Lvovskiy The rest of the interior is muted in fact to a minimalistic background - the gray tones of the walls and floors allow the designs to play a major role, and the black accents of furniture add to table appointments elegance.  © Boris Lvovskiy The second hall is made different in mood: the wooden structures resemble a bamboo grove and the backlight gives it violet, in-house for the KIDO network color, adding to the intimacy of place.  © Boris Lvovskiy  This posting includes an audio/video/photo media file: Download Now |
| Posted: 03 Apr 2017 03:00 PM PDT  © Amit Geron
 © Amit Geron From the architect. Located at the heart of a metropolis, this duplex apartment is on the 32/33 floor of a Tel Aviv tower. It is endowed with large floor to ceiling windows, showing magnificent cityscapes 24/7  © Amit Geron As reflection to an urban landscapes, the apartment appropriates a 'sense of urbanism' in having a double height 'public space' along with its selected materials and tonality.  Floor Plan The walls of the 'publics space' are rendered with cement, yet compartmented by slim horizontal brass bars. The central space enjoys a flight of stairs made of slender white steel, a 3m high thin shelves library, with an integral stepladder attached; and a" Bulthaup" aluminium graphite kitchen.  © Amit Geron The apartment houses a couple in their 50's, whose children have already grown up and left home. As the couple enjoys entertaining guests; the design brief included elements required for good hospitality; such as a large kitchen with wide-ranging functionality; guests bedroom with all necessary services and entertainment areas. The first floor is the 'public space'; it includes the 'official' hospitality area, an entertainment area, kitchen and the dining area, and guests bedrooms, all positioned below the mezzanine so to contribute additional privacy.  © Amit Geron The flight of stairs is designed to enhance a sense of double level spaciousness, giving a sensation of an extra high ceiling. The internal mezzanine is the 'private space'; it is the couple's private 'playground'. It is an open space bedroom; the back of the bed functions as a partition to a gym, here cityscape sights stretch endlessly. The bathroom is furnished with a glass partition of which one side has a double basins cabinet and the other contains an ellipse shaped bathtub with marble tiles.  © Amit Geron  Floor Plan  © Amit Geron The apartment enjoys minimalist aesthetics with fine-cut neatness. Some of the additional particular choices such as carpets, wooden floors and brass profiles, are all contributing towards a totality that of warm homey urban experience.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 03 Apr 2017 01:00 PM PDT  © Ketsiree Wongwan
 © Ketsiree Wongwan From the architect. This house was originally designed for a young couple who has a small land tract on the outskirt of Bangkok. They desired a compact house that has all necessary functions for their modern lifestyles with low construction and maintenance costs. The project eventually was terminated, but simultaneously, a Lynk Architect member planned to build a house for his family that has similar area requirements to this house. Therefore, the design was brought to life again with a few site adjustments.  © Ketsiree Wongwan  Ground Floor  © Ketsiree Wongwan One adjustment for the new site was to enhance the outdoor space as a transitional green area since construction was now adjacent to the existing residence of the new owner's parents. As original feature that has become the key element of this house is the Thai central terrace located on the second floor right at the heart of the house; which brings life to and links all spaces within the home.  © Ketsiree Wongwan This house is structurally composed of two main sections with distinctive, contrasting textures and colors. The first is very solid and supportive to the second; which is lighter and capable of a longer span. Both compartments are different in terms of their structure and materials. For instance, the solid area was constructed from reinforced concrete and masonry for stability, and the lighter part constructed from steel framing with insulated infill, covered by fiber cement boards to reduce its weight and thickness.  © Ketsiree Wongwan  This posting includes an audio/video/photo media file: Download Now |
| Posted: 03 Apr 2017 12:00 PM PDT  © Wonseok Lee
 © Wonseok Lee From the architect. Ondang is a house filled with warmth and comfort, which well reflects the ultimate goal the Office for Appropriate Architecture pursues for a residential building. Ondang presents a good example of an affordable duplex home.  © Wonseok Lee The project started by looking into the current problems raised in housing market in South Korea. Many single homes are often overly priced and/or poorly built even though they easily fail to support the residents' growing needs and wants, and the market value of the real estate has been constantly increasing. Ondang is presented as a result of architect's long search for a "proper duplex" that celebrates the right of living and supports the privacy of both the landlord and the tenant living closely.  Eploded Axonometric The clients, parents and two children, have wanted for a family room where each member may spend their time alone and together. For the new family room had to be different from the conventional living room where a family would watch TV on a couch, the architect provided a flexible common space that can support different uses and varying events.  © Wonseok Lee Living room, kitchen and dining area are merged into one large space on the ground floor, which is ready to adapt changing needs of the family through different occasions. By rearranging the furniture or adjusting the lighting, the family room can turn into a living room, a cafe, a play room, a dinning hall or a study area.  Section Mother's role in the family is highlighted in Ondang. In order for the house to efficiently support the homemaker, the kitchen space is located at the very center of the ground floor so that the she or he can watch the children playing in the yard, or in the family room, while occupying himself or herself to varying chores. A number of service spaces are thoroughly connected and aligned, which enables an efficient single flow of homemaking.  © Wonseok Lee As well as the landlord's own home is to fit the life style of a family of four, the neighbouring rental house is designed to attract provisional tenants, expectably young professionals or newly wedded couples.  © Wonseok Lee In a way to support independent and unique life style of of each household, the rental home is laid along the East and West, and the landlord's home along the South and North. Two houses are tightly intertwined as three dimensional Tetris blocks, yet there is no interference of circulation or visual connection between the two resident groups. The outdoor spaces are rather fairly assigned: the main yard on the ground floor belongs to the landlord, while the rooftop garden is accessible only for the tenants.  Axonometric Ondang thoughtfully delivers the architect's answer for the clients' wish to own a appropriate family home where there is a rental house built adjacent to court a different type of residents.  © Wonseok Lee  This posting includes an audio/video/photo media file: Download Now |
| Call for Papers: Society of Architectural Historians 71st Annual International Conference Posted: 03 Apr 2017 11:00 AM PDT  The Society of Architectural Historians is now accepting abstracts for its 71st Annual International Conference in Saint Paul, MN, April 18–22. Please submit an abstract no later than 5:00 p.m. CDT on June 15, 2017, to one of the 45 thematic sessions, the Graduate Student Lightning Talks or the open sessions. The thematic sessions have been selected to cover topics across all time periods and architectural styles. SAH encourages submissions from architectural, landscape, and urban historians; museum curators; preservationists; independent scholars; architects; scholars in related fields; and members of SAH chapters and partner organizations. Thematic sessions and Graduate Student Lightning Talks are listed below. Please note that those submitting papers for the Graduate Student Lightning Talks must be graduate students at the time the talk is being delivered (April 18–22, 2017). Open sessions are available for those whose research does not match any of the themed sessions. Instructions and deadlines for submitting to themed sessions and open sessions are the same. Submission Guidelines: Abstracts must be under 300 words. Abstracts should define the subject and summarize the argument to be presented in the proposed paper. The content of that paper should be the product of well-documented original research that is primarily analytical and interpretive, rather than descriptive in nature. Papers cannot have been previously published or presented in public except to a small, local audience (under 100 people). All abstracts will be held in confidence during the review and selection process, and only the session chair and conference chair will have access to them. All session chairs have the prerogative to recommend changes to the abstract in order to ensure it addresses the session theme, and to suggest editorial revisions to a paper in order to make it satisfy session guidelines. It is the responsibility of the session chairs to inform speakers of those guidelines, as well as of the general expectations for participation in the session and the annual conference. Session chairs reserve the right to withhold a paper from the program if the author has not complied with those guidelines. Please Note: Each speaker is expected to fund his or her own travel and expenses to Saint Paul, MN. SAH has a limited number of conference fellowships for which speakers may apply. However, SAH's funding is not sufficient to support the expenses of all speakers. Each speaker and session chair must register and establish membership in SAH for the 2018 conference by August 31, 2017, and is required to pay the non-refundable conference registration fee as a show of his or her commitment. LIST OF PAPER SESSIONS A Matter of Life and Death: Spaces for Healing in the Premodern Era View the full CFP and submit online at sah.org/2018/cfp. Download the information related to this competition here.
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| Surry Hills House / Benn & Penna Architecture Posted: 03 Apr 2017 10:00 AM PDT  © Tom Ferguson
 © Tom Ferguson From the architect. This project is an alterations and additions to a tiny inner city terrace, including new bedrooms, bathrooms, kitchen, courtyard and living spaces. The design locates the new bedroom and bathrooms spaces above an open-plan living area that opens onto intimate garden spaces at either end of the property.  © Tom Ferguson The project transforms what previously was a dark and introverted home into one of abundant natural light and generously proportioned spaces. A delicately detailed steel stair rises through the middle of the building and guides natural light from a large skylight above into the centre of the house. A wall of white mosaic tiles lines the back wall of the courtyard, reflecting northern light back into both the garden and rear kitchen space.  Section The inhabitants are now able to use the entire ground floor as a continuous indoor outdoor space, heightening the experience of leisure activities in the house. The project also provides an additional bedroom and private terrace above for more intimate enjoyment.  © Tom Ferguson Modest in scale, the new built form is a subtle play on the elongation of dwellings predominant in the narrow lots in inner-central Sydney. The pared back and understated interior is designed to foreground the rich texture of local brickwork surrounding the site.  © Tom Ferguson  This posting includes an audio/video/photo media file: Download Now |
| BIG's Serpentine Pavilion to be Moved to Permanent Home in Vancouver Posted: 03 Apr 2017 09:15 AM PDT  The pavilion's new location adjacent to Shaw Tower in Vancouver. Image Courtesy of Westbank BIG's Serpentine Pavilion is headed to North America, with plans for stops in New York and Toronto on its way to a new permanent home in downtown Vancouver. Purchased by Canadian developer Westbank, who also sponsored the project in 2016, the pavilion will come to a rest on a site adjacent to the company's headquarters in Shaw Tower, spitting distance from the waterfront plaza where the 2010 Olympic cauldron is located.  The pavilion's new location adjacent to Shaw Tower in Vancouver. Image Courtesy of Westbank The 'unzipped wall' design will be seen in a completely new context next to some of Vancouver's tallest skyscrapers and a 4-lane avenue – quite the contrast to the peaceful grassy lawns of its previous home in Kensington Gardens. The undulating structure will become part of the pedestrian streetscape, acting as a tunnel connecting the city to the waterfront. "Westbank has a well established and growing relationship Bjarke and his team at BIG," commented Ian Gillespie, Founder, Westbank. "Purchasing the Pavilion was a very natural extension of that partnership and we want to give Bjarke's creation the most interesting afterlife of any of the previous pavilions."  The pavilion in its original location at Kensington Gardens. Image Courtesy of Westbank The pavilion's dismantling was managed by design and fabrication firm Astound Group. The team is currently working on the logistics for future travel. The structure won't be the first Serpentine Pavilion to find a new home – Zaha Hadid's 2007 effort has been re-erected at Chatsworth House in Derbyshire, England, and Toyo Ito/Cecil Balmond's 2002 pavilion now serves as a beachside restaurant at the luxury hotel Le Beauvallon on the Côte d'Azur in France. Other pavilions have also been purchased by private owners. News via Westbank.
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| La Stella Ranch / AE Arquitectos Posted: 03 Apr 2017 08:00 AM PDT  © Lorena Darquea
 © Lorena Darquea From the architect. LS Ranch is located southwest of Guadalajara in Tapalpa, a small and colorful town in the mountains. The clients already owned a vacation home in Tapalpa, and they needed an extension to hold their passion for horses. It was conceived as a space to breed Spanish Horses and share the experience with clients, family and friends.  © Lorena Darquea This project has a very specific need regarding its function. We were asked to rebuild their horse barn to fit the needs of the very specific task of breeding this unique line of Spanish horses; the design process followed with precision the guidelines and specifications for the needs of the horse barn.  © Lorena Darquea  Floor Plan  © Lorena Darquea The general organization of the project revolves around two main buildings with a horseshoe shape, opposing one another, with two patios in front of each building and a big corridor that links all the areas.  © Lorena Darquea All the materials were carefully selected to enhance the experience and feel of this unique site. Pinewood was used for the structure and carpentry of the project, a material really common in the area. Clay tile roof was used due to the rainy weather and too much the materials of Tapalpa which is the source of inspiration for the use of materials, tile colors and stones used in the project.  © Lorena Darquea Todos los materiales fueron seleccionados de manera muy específica para realzar la experiencia del sitio. Madera de pino fue usada para la estructura y carpinterías del proyecto. Para las cubiertas se usaron tejas de barro que responden al clima de Tapalpa y a los materiales de la zona.  This posting includes an audio/video/photo media file: Download Now |
| WOHA On Why High-Density Living Doesn't Mean Sacrificing Nice Things Posted: 03 Apr 2017 07:00 AM PDT
As part of the MEXTRÓPOLI festival in Mexico City early last month, Singapore-based firm WOHA debuted their first exhibition in the Latin America, GARDEN CITY MEGA CITY. WOHA's architecture introduces biodiversity into public spaces, turning high-rise courtyards and hallways into teeming community assets. In this exhibition, the architects show how their work has addressed both climate change and the social challenges that occur as a result of rapid (upward) urban development. We had the chance to speak with Wong Mun Summ y Richard Hassell − partners and founders of WOHA − so that they could tell us more about their practice and their intentions behind bringing the exhibition to Latin America.
See the full interview above and find more details about the 4th edition of the MEXTRÓPOLI festival, here.  |
| Armazém Luxury Housing / Pedra Líquida Posted: 03 Apr 2017 06:00 AM PDT  © José Campos
 © José Campos From the architect. In 2013 a building with a charming personality was found in the n.74 of the dynamic Largo de São Domingos, in Porto.  © José Campos Among a set of dwelling buildings this one stood out by the austerity of its facade and the large and free open interior, charactreristics of an old iron warehouse.  © José Campos The main object of the project was to transform a wide and deep spaece into an hotel of charm, maintaining its original atmosphere.  © José Campos The interior of the building was designed with a central patio allowing plenty of light inside and vivid spaces. A ligthweight staircase shows the verticality of its 6 floors and the horizontal circulations were mixed with living rooms, creating wide and generous common areas.  © José Campos  Floor Plan 04  © José Campos The materials were selected to enhance this duality between a warehouse and a hotel - cold and raw materials such as iron and concrete, appeared in contrast with light wood, fine fabrics, velvet, and confortable rugs.  © José Campos The reception and the main living room were designed facing the street. From here, going down a stairway that overlaps the pre-existing stone ramp, we find the breakfast/dinning room, served by a kitchen.  Section The upper floors were reserved for the bedrooms, which all have private bathrooms. Going up the building one can find some surprising moments such as the terrace facing the Porto Cathedral or the penthouse in the last floor which allows a different and rich space experience given by the exquisite celling shape.  © José Campos  This posting includes an audio/video/photo media file: Download Now |
| OMA to Regenerate Historic Columbia Circle in Shanghai Posted: 03 Apr 2017 04:50 AM PDT  Photograph by Frans Parthesius, Courtesy of OMA OMA, in collaboration with local architects ECADI and landscape architects West 8, has developed a new mixed-use masterplan for Columbia Circle in the center of Shanghai. Layered with rich history, the site contains preserved colonial monuments, former industrial buildings and 1920's country club buildings by architect Elliott Hazzard – these elements will be renewed and transformed by the master plan to return Columbia Circle into one of Shanghai's most prominent public spaces.  © OMA Among the existing buildings on the 4.7 hectare site is the Columbia Country Club, designed by Hazzard for the prewar American elite society and including a clubhouse, gym and outdoor pool. Also on site are a villa designed by Hungarian architect László Hudec in 1930, three Spanish Colonial Revival Style monuments and nearly 40 additional structures built between 1950 and 2000, creating an eclectic mix of program and styles.  © OMA In 1952, Shanghai Institute of Biological Products took over the area, turning the square into a research campus with offices, production facilities, warehouses and laboratories. Since SIOBP ceased activities on the campus, the site has laid dormant, waiting to be rediscovered and repurposed with a project deserving of its architectural potential.  © OMA  © OMA OMA's strategy will renew the existing structures as well as introduce three new buildings into the site, extending the repertoire of spaces even further and offering new programmatic possibilities the current historical buildings are unable to offer. Creative office space, a hotel, event spaces, cultural venues, retail spaces, restaurants and outdoor spaces designed by West 8 will be distributed throughout, creating an enlivened pedestrian experience. Two new while two new access points will punch through to the main circulation arteries of the neighborhood, improving accessibility to the site.  © OMA  © OMA The project represents OMA's second effort in Shanghai, following the completion of the Shanghai Lujiazui Harbour City Exhibition Centre earlier this year. The Columbia Circle project also expands the firm's portfolio of preservation projects, which includes the regeneration of industrial site Largo Isarco for the establishment of cultural venue Fondazione Prada (Milan, 2015); the redevelopment of a Soviet canteen in Garage Gorky Park into Garage Center of Contemporary Art (Moscow, 2015); the renovation of Fondaco dei Tedeschi (Venice, 2016); and the redesign of former coal mine Zeche Zollverein (Essen, 2007) into a museum and visitor's center. News via OMA.  © OMA  © OMA  © OMA  Photograph by Frans Parthesius, Courtesy of OMA
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| Posted: 03 Apr 2017 04:00 AM PDT  © Olivier Blouin
 © Olivier Blouin From the architect. For the 'High House', DELORDINAIRE plays with the limit between interior and exterior, inviting people to gather in spaces immersed in nature. Elevated stilt constructions are typically used in warm climates and flood zones. This energy efficient winter chalet uses stilt typology to create a protected ground floor area with an outdoor stove. Providing an unusual space where residents can be amongst nature and the snowy exterior, while still enjoying some protection from the elements.  © Olivier Blouin  Plans  © Olivier Blouin  Sections The stilt typology raises the house above the surrounding tree line giving it an uninterrupted view of the Mont Saint Anne from the lounge, as well as a striking overall aesthetic. It also allows sunshine to directly enter the house at all hours of the day. The clean, sharp lines and volumes are achieved through the use of white concrete panel cladding and corrugated steel roof panels. On a cloudy, snowy day, the house blends into the white landscape almost disappearing, and on summers day the minimal white structure cuts a clear form against the surrounding green hills.  © Olivier Blouin  © Olivier Blouin  This posting includes an audio/video/photo media file: Download Now |
| Lascaux IV / Snøhetta + Casson Mann Posted: 03 Apr 2017 02:30 AM PDT  © Boegly + Grazia photographers
 © Boegly + Grazia photographers From the architect. The new International Centre for Cave Art (Centre International d'Art Parietal) in Montignac, France welcomes visitors to an immersive educational experience of the prehistoric Lascaux cave paintings. Known by archaeologists as the 'Sistine Chapel of Prehistory' due to their spiritual and historical significance, the 20,000-year-old paintings are among the finest known examples of art from the Paleolithic period. Architects Snøhetta and SRA, alongside scenographer Casson Mann, worked closely with a team of archaeologists to create a holistic museum and educational experience. As an interpretation center featuring state-of-the-art experiential storytelling technology paired with a facsimile of the caves, Lascaux IV offers visitors an opportunity to discover the caves in a unique way that reveals a sense of wonder and mystery, as if they, too, were the first group of adventurers to stumble upon the cave paintings.  © Boegly + Grazia photographers  Plan  © Boegly + Grazia photographers The new Lascaux IV Caves Museum is situated at the intersection of two unique landscapes, between a densely-forested, protected hillside and the agricultural Vézère Valley. Snøhetta's design conceives the museum as a fine cut in the landscape, inviting visitors into a curious world of prehistory. By framing the experience of the cave replica in contemporary design, the approach counters the potential trap of artifice: the materiality and geometry of the approach allows the visitor to understand that they are in the presence of a reproduction, without distracting from the power of its impact. The form and materiality of the museum have a monolithic, sober expression, speaking to the surrounding nature and the massive rock formations embedded in the hill, with a new public, agricultural landscape unfolding around it.  © Boegly + Grazia photographers The visitor experience is carefully sequenced. Beginning in the lobby, visitors ascend by a lift to the belvedere out on the roof, where they can enjoy a magnificent panoramic view of Montignac and the Vézère Valley. They then descend a gentle slope towards the cave facsimile, which follows the incline of the roof towards the edge of the forest until reaching the entrance to the replica. The winding path through the landscape and gradual descent back down to grade facilitates a mental transition through time and space, creating an experience similar to that of the cave's first discoverers in 1940.  © Boegly + Grazia photographers  Section  © Boegly + Grazia photographers Inside the cave facsimile, the atmosphere is damp and dark, re-creating the humidity within the caves. Sounds are muffled; the temperature drops to about 16 degrees Celsius. This sequence is dedicated to contemplation, allowing people an experience of the sanctuary that once was. Lights flicker just as the animal fat lamps of Paleolithic times did, revealing the layers of paintings and engravings on the surface of the walls.  © Dan Courtice The cave replica was developed through the most advanced 3D laser scanning and casting technologies to replicate the original cave form to a 1 millimeter tolerance. Following the construction, the caves underwent a careful analog process: 25 artists spent 2 years hand-painting 900 meters of resin rock reproductions. To ensure the highest level of accuracy, artists used the same pigments that the prehistoric painters used 20,000 years ago to recreate the 1900 paintings and engravings that adorn the walls of Lascaux IV.  © Boegly + Grazia photographers Upon exiting the facsimile, visitors arrive at a transition space known as the Cave Garden. This patio provides an opportunity to re-adjust to the exterior context after the intense visceral and emotional experience of the Cave replica. The relationship to the sky, the presence of plants and the sound of flowing water frame this moment.  © Boegly + Grazia photographers Throughout the museum, the visitor experience sequences a balance of stark differences in atmospheres, light and intensities – from the enclosed exhibition spaces ensconced in the hill, to the light-filled lobby and transition spaces. The juxtaposition between descent and ascent, inside and outside, earth and sky, or nature and art, evoke the analogous experience of the caves.  © Boegly + Grazia photographers The orientation zone between the multiple educational spaces is illuminated by a fissure of daylight from above, creating a calm and contemplative zone for visitors to re-set and rest between exhibitions, as well as a social meeting point where visitors can gather.  © Boegly + Grazia photographers The interpretive center that follows provides interactive exhibitions to teach the rich history of the Vézère Valley and cave paintings. Casson Mann's installations are enhanced by digital learning experiences, employing new technological devices and interactive screens to offer the findings of the most recent research from expert pre-historians and archaeologists.  Section Visitors can engage with a device known as the 'Companion De Visite' specially designed for the museum. The interactive digital companion device (CdV) liberates the gallery spaces from text panels – blending art, history, culture and contemplation by offering layers of additional information and views into the virtual reality of the past.  © Boegly + Grazia photographers The first exhibition space in the interpretive center is The Workshop (L'Atelier de Lascaux), with 8 hanging rock wall fragments, where visitors can examine the paintings more closely. This space also provides information on the history of the caves, their discovery, why the real cave is now closed, and how the artists of 20,000 years ago worked.  © Dan Courtice The Cave Art Theatre (Le theatre de l'art paretial) presents a three-act play using light, sound, movies and objects to give life to the story of Lascaux's cave art. In the Cinema, visitors wear 3D stereoscopic glasses for a 3D film on a digital voyage through the cave.  © Boegly + Grazia photographers In the Imagination Gallery, (La galerie de l'imaginaire), visitors are able to explore the influence of prehistoric cave art on modern and contemporary artists. This content has been curated by John Paul Jouary, professor, philosopher and author, whose work is devoted to the relationship between Paleolithic art and the art of our time.  © Boegly + Grazia photographers As a striking, contemporary addition to the landscape of the Vezere Valley, Lascaux IV frames a new experience of some of the finest known examples of prehistoric art, and offers profound new ways of understanding the rich heritage of its site. The project is forged of a combination of low-tech and high-tech elements, from the meticulously hand-painted replica to virtual-reality exhibitions, engaging its visitors in a contemporary (re)discovery of the art of our ancestors. Weaving together physical and interpretive concepts and spaces, the holistically conceived center unites Paleolithic art with contemporary approaches to spatial and experiential storytelling.  © Boegly + Grazia photographers  This posting includes an audio/video/photo media file: Download Now |
| 5 Stages of Creativity That Architects Experience With Every Project Posted: 03 Apr 2017 02:30 AM PDT  © Ariana Zilliacus As creators, we all go through stages of creativity. Some phases are more severe than others, but getting emotionally involved is, in most cases, unavoidable. In many cases, the emotional intensity of design can be so intense, it begins to resemble another well-known emotional process—one that generally includes the stages of denial, anger, bargaining, depression, and acceptance. Design may not literally be as difficult as losing a loved one, but it's little coincidence that in the architecture profession, one's best concepts are often referred to as their "babies," and any design process will involve a fair amount of letting them go. To paraphrase the existing psychological literature, "as long as there is creativity, there is hope. As long as there is hope, there is creativity." So join us as we explain the architect's path through the five stages of  © Ariana Zilliacus 1. Over-confidenceThe feeling: You get the brief, and immediately you have 25 ideas rushing through your brain. This is the ultimate project. You have it all planned out: the 17 sketch models you're going to make, the beautiful Pinterest-worthy drawings, the 1:1 mock-ups to show off your skills with a bandsaw. It's all been planned out before you leave the room. You are going to kill this. The explanation: This is a defense mechanism that buffers the immediate shock of the sleepless nights ahead. We block out the words and hide from the facts. This is a temporary response that carries us through the first wave of pain.  © Ariana Zilliacus 2. FrustrationThe feeling: As soon as you do leave the room, the thoughts firing through your brain become overwhelming and any sketch that leaves your fingertips is just wrong. A potato dome for the neighborhood flower shop? A series of knitted windows for the state prison? These ideas sounded so good just a few minutes ago… A vacuum packed book pavilion! Too bad, that's already been done. The explanation: As the masking effects of our over-confidence begin to wear, reality and its pain re-emerge. We are not ready. The intense emotion is deflected from our vulnerable core, redirected and expressed instead as frustration. This may be aimed at inanimate objects, complete strangers, friends or family. Understand the options available to you. Take your time.  © Ariana Zilliacus 3. "I can do this"The feeling: After falling off the rails for a couple of days you manage to pull yourself together. You may not be able to accomplish everything you were hoping to, but those ideas were going above and beyond anyway. You can still pull through with a great project. There's more than enough time left. The explanation: The normal reaction to feelings of helplessness and vulnerability is often a need to regain control. Secretly, we may make a deal with God or our higher power in an attempt to postpone the inevitable. This is a weaker line of defense to protect you from the painful reality: you have nothing, and the design review is in two days.  © Ariana Zilliacus 4. Self-hatredThe feeling: When reality begins to sink in and you come to terms with the fact that your dreams will not be materialized, the anger and frustration turns from your work towards yourself. It's not your idea that's worthless, you are worthless; as an architect, as a creator, as a human being. This project fell through and so will all of the coming projects for the rest of your professional life. No one will want you to work with or for them. You might as well quit now and become an accountant. The explanation: This is a reaction to practical implications relating to our disappointing results. Sadness and regret predominate this type of self-hatred. We worry about our future. We worry that, in our frustration, we have missed an opportunity to spend more time working on our project that depends on us to succeed.  © Ariana Zilliacus 5. HopeThe feeling: After some tears and a 8 cups of coffee following 36 straight hours sitting at your desk to complete 9 of the 17 sketch models, you can only muster a dim light at the end of the tunnel. There is still hope that your professor or client will see some value in the work you have produced. Something that you can work with once you wake up from your 48 hours of sleep this weekend. The explanation: The fortunate few may actually experience a feeling of pride and satisfaction in this stage of creativity. For most, however, this is not a period of happiness. It is the calm before the storm; next Monday the cycle begins anew. "Explanation" sections adapted for comic effect from Julie Axelrod's "The 5 Stages of Grief & Loss" published on PsychCentral.  This posting includes an audio/video/photo media file: Download Now |
| Winners of the 2017 Architectural Review MIPIM Future Project Awards Announced Posted: 03 Apr 2017 01:00 AM PDT The winners of the 2017 Architectural Review MIPIM Future Project Awards have been announced. Prizes span across 11 categories and were awarded to projects from eight countries, from projects under construction to competition entries and conceptual designs. "Successful projects this year include a thermal bath and resort in the Baltic, a new ecclesiastical library for the Church of England, a rural women's community center in Turkey and a 'dematerializing' office building in the US Capitol city, all demonstrating the dynamism and creativity at the heart of the architectural professional internationally," explained the awards organizers in a press release. The winners of the 2017 Architectural Review MIPIM Future Project Awards are: Overall Winner: 118 E59th Street Residences; New York, USA / Tabanlioglu Architects, for Madison Equities, LLC  Overall Winner: 118 E59th Street Residences; New York, USA / Tabanlioglu Architects, for Madison Equities, LLC. Image Courtesy of The Architectural Review Big Urban Projects: Madinat Al Ifran, Muscat, Oman / Allies & Morrison for Omran Tourism Development Company (ongoing project)  Big Urban Projects: Madinat Al Ifran, Muscat, Oman, designed by Allies & Morrison for Omran Tourism Development Company (ongoing project). Image Courtesy of The Architectural Review Civic and Community: Husame Koklu Women's Community and Production Center in Bayburt, Turkey / Tabanlioglu Architects for Baksi Culture and Art Foundation (concept design)  Civic and Community: Husame Koklu Women's Community and Production Center in Bayburt, Turkey, designed by Tabanlioglu Architects for Baksi Culture and Art Foundation (concept design). Image Courtesy of The Architectural Review Cultural Regeneration: Museum of Imperial Kiln, Jingdezhen, China / Studio Pei-Zhu (under construction)  Cultural Regeneration: Museum of Imperial Kiln, Jingdezhen, China, designed by Studio Pei-Zhu (under construction). Image Courtesy of The Architectural Review Mixed Use: The Hills at Vallco, Cupertino, USA / Rafael Vinoly Architects PC for Abu Dhabi Investment Authority / Sand Hill Property Company (design development)  Mixed Use: The Hills at Vallco, Cupertino, USA, designed by Rafael Vinoly Architects PC for Abu Dhabi Investment Authority / Sand Hill Property Company (design development). Image Courtesy of The Architectural Review Offices: 2050 M Street, Washington, DC, USA / REX Architecture for Tishman Speyer (completion expected 2019)  Offices: 2050 M Street, Washington, DC, USA, designed by REX Architecture for Tishman Speyer (completion expected 2019). Image Courtesy of The Architectural Review Old and New: Lambeth Palace Library and Archive, London, UK / Wright and Wright Architects for the Church Commissioners of England (planning stage)  Old and New: Lambeth Palace Library and Archive, London, UK, designed by Wright and Wright Architects for the Church Commissioners of England (planning stage). Image Courtesy of The Architectural Review Regeneration and Masterplanning: Nya Hovås, Gothenberg, Sweden / Utopia Arkitekter AB for Nya Hovås II AB (planning process expected 2017)  Regeneration and Masterplanning: Nya Hovås, Gothenberg, Sweden, designed by Utopia Arkitekter AB for Nya Hovås II AB (planning process expected 2017). Image Courtesy of The Architectural Review Residential: 118 E59th Street residences, New York, USA / Tabanlioglu Architects for Madison Equities, LLC  Residential: 118 E59th Street residences, New York, USA designed by Tabanlioglu Architects for Madison Equities, LLC. Image Courtesy of The Architectural Review Retail and Leisure: Liepāja Thermal Bath and Resort, Latvia / Steven Christensen Architecture for Liepāja City Council (unbuilt)  Retail and Leisure: Liepāja Thermal Bath and Resort, Latvia designed by Steven Christensen Architecture for Liepāja City Council (unbuilt). Image Courtesy of The Architectural Review Sport and Stadiums: Power Court Stadium, Luton, United Kingdom / and Architects for Luton Town FC (in planning)  Sport and Stadiums: Power Court Stadium, Luton, United Kingdom, designed by and Architects for Luton Town FC (in planning). Image Courtesy of The Architectural Review Tall Buildings: Ceylonz Suites, Federal Territory of Kuala Lumpur, Malaysia / Tan'ck Architect for Exsim Development (under construction)  Tall Buildings: Ceylonz Suites, Federal Territory of Kuala Lumpur, Malaysia, designed by Tan'ck Architect for Exsim Development (under construction). Image Courtesy of The Architectural Review Innovation Prize: Sino-Finnish Economic and Culture Cooperation Center, Nanjing, Jiangsu province, China / PES-Architects Ltd for Southern New Town Construction Development Office, Nanjing (schematic design phase spring 2017)  Innovation Prize: Sino-Finnish Economic and Culture Cooperation Center, Nanjing, Jiangsu province, China, by PES-Architects Ltd for Southern New Town Construction Development Office, Nanjing (schematic design phase spring 2017). Image Courtesy of The Architectural Review Jeu D'Esprit Prize: Media City, Istanbul, Turkey / GAD Architecture for Istanbul Chamber of Commerce (conceptual)  Jeu D'Esprit Prize: Media City, Istanbul, Turkey, designed by GAD Architecture for Istanbul Chamber of Commerce (conceptual). Image Courtesy of The Architectural Review Learn more about the winning projects here. News via The Architectural Review.  This posting includes an audio/video/photo media file: Download Now |
| "Architecture of the Portrait": Illustrations by Francisca Álvarez Ainzúa Posted: 02 Apr 2017 11:00 PM PDT  Óscar Niemeyer. Image © Francisca Álvarez Ainzúa Chilean architect and illustrator Francisca Álvarez Ainzúa created "Architecture of the Portrait": a series of illustrations of renowned architects drawn with the precision and accuracy of a fineliner. In order to choose the protagonists of her geometrical analyses, the architect states a preference for strong character and the presence of imperfections, which imparts a certain richness to the representation. The architectural construction of the face is done using lines to create a hatch effect. Next, she adds color that pays tribute to the traditional default CAD shades: yellow, cyan and magenta. The Process It all starts with the model. "I have my preference for faces with character that have something particular about them, such as a large nose or many furrows on the skin, spots, moles or fallen eyes.The imperfections make a richer face and therefore also affects its representation," says Francisca. She works from photographs in order to have an accurate reference of all the face's details. The photograph is manipulated to extract the contrast of lights and shadows as a guide to begin the illustration. From this reference, the shadows are transformed into polygons and then into lines, which slowly make up the final result. "I always sought to explore different forms of drawing and expression in terms of the architectural drawing, both in digital and in hand-drawing. The value that it gives to the project is vital, and it became my favorite moment: having to sit down and decide the best way to express the work and make better understood; how to work the thicknesses, the degrees of grays, shadows, and transparency. For me the representational aspect of the project is fundamental." This passion for drawing gave her the idea to bring all the richness and detail of an architectural plan into the freedom of the portrait--using the same rules but relaxing their rigor so that she has the freedom to play.  Mies Van Der Rohe. Image © Francisca Álvarez Ainzúa  Tadao Ando. Image © Francisca Álvarez Ainzúa  Zaha Hadid. Image © Francisca Álvarez Ainzúa  Rem Koolhaas. Image © Francisca Álvarez Ainzúa  Teodoro Fernández. Image © Francisca Álvarez Ainzúa * To see more of her work you can visit her site or Instagram account.  This posting includes an audio/video/photo media file: Download Now |
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