Arch Daily |
- Ski Lodge Wolf / Bernardo Bader Architects
- Modern Countryside Villa / Maas architecten
- Dorman House / Austin Maynard Architects
- Unbot inc. Office / PRISM DESIGN
- Dolls House / Day Bukh Architects
- Theme Revealed for the 2018 World Design Capital in Mexico City
- DL House / URBAstudios
- 8 Exemplary Libraries Selected as Winners of 2017 AIA/ALA Library Building Awards
- Casa Guaparo / NMD NOMADAS
- Zaha Hadid Architects Unveils Designs for Sports-Centered Eco Technology Hub in England
- LEKA Open Source Restaurant / IAAC FAB Lab Barcelona
- Call for Entries: 2017 MAD Travel Fellowship
- "Wasteland" Provides a Tactile Insight into the World of Upcycling in Architecture
- YB House / MASA Arquitectos
- Build Your Own Pizza Oven: The Crust-Worthy Guide You Didn't Know You Kneaded
- Bahá’í Temple of South America Wins 2017 Innovation in Architecture Award
| Ski Lodge Wolf / Bernardo Bader Architects Posted: 06 Apr 2017 08:00 PM PDT  © Adolf Bereuter
 © Adolf Bereuter From the architect. In a breath taking mountain scenery 2000meters above sea level is the ski lodge wolf with the dimensions of 22 x 16 x 7 meter is situated. Like a peak the saddle roof stands out and adapts itself in the topography of the surroundings. Chosen as main material for the building was the sustainable material wood. The façade is cladded with a vertical and horizontal screen made of rough sawn spruce in different widths. Reinforced concrete was used for the fundament and reminds to the old lodges built on a stone base.  © Adolf Bereuter  Plan  © Adolf Bereuter During the winter season you can easily reach the lodge with the ski lift while in summer a hiking trail directly leads to the lodge. At two sides of the building a porch runs around and provides for about 50 guests a weather protected area. When you enter the lodge you get to the bar with a double floor high. The ceiling of this room reflects the outer shape and opens up to a huge lantern made of dense and open spruce slats. Directly behind the bar is the bright kitchen where three chefs prepare culinary and regional dishes. Next to the bar two snuggeries are offer burst for 50 other guests. An open fire place with a concrete surface connects the two rooms and keeps them heated during the winter. The room for the employees is at the second floor and extends to an exclusive loggia.  © Adolf Bereuter  This posting includes an audio/video/photo media file: Download Now |
| Modern Countryside Villa / Maas architecten Posted: 06 Apr 2017 07:00 PM PDT  © Edith Verhoeven
 © Edith Verhoeven From the architect. The villa is located in an open countryside and is designed as a H-shape. Such as in a loft, spaces are all connected to each other. The almost transparent spacer, that connects the two thatched-volumes, forms the entrance. At the street side, the house is somewhat sheltered by a grove.  © Edith Verhoeven The main building, the left volume, is almost entirely made of glass. The living area and dining place are situated on the south-west and offer a panoramic view. Behind the glass facing the street, the kitchen, pantry and toilet are located. These function are combined in a wooden box. The master bedroom is completely private to the north.  Ground Floor The façade of the right volume is made out of wood with some blinds. At the back of this volume a greenhouse is located, which also can be used as atelier/studio.  © Edith Verhoeven The H-shape creates a windless private outdoor space where you can see the sun set. Privacy is assured in spite of the glass.  Section  This posting includes an audio/video/photo media file: Download Now |
| Dorman House / Austin Maynard Architects Posted: 06 Apr 2017 01:00 PM PDT  © Peter Bennetts
 © Peter Bennetts From the architect. Clients Kate and Grant had a beach house in Lorne, Victoria, which they loved and valued greatly. They asked 'how could we add a clear and elevated view of the ocean without demolishing, damaging or dominating our beloved shack?'  © Peter Bennetts Dorman House is a finely crafted timber box, independently constructed to hover over the existing beach house. In contrast to the neighbours, it has been designed to weather, to go grey and age, and sink back into the landscape, back into the bush.  © Peter Bennetts The elevated box extension sits on top of a structure of industrial-looking posts and beams and comprises of a kitchen, dining and living room, accessed via a spiral staircase. Though the client's asked to "save our shack but give us the view" they also wanted to create a space that was not solely focused on the vista. What could easily have been a white plasterboard box filled with downlights is, instead, detailed and well considered, radiating warmth and calm. Internally lined with Silvertop Ash, it's a place that exudes character and responds to the seasonal changes and hours of the day.  Ground Floor Plan  Section  First Floor Plan The new living space does not protrude forward over the ridge-line of the old house and avoids dominating the original shack unnecessarily. The undercroft of the new living space is a simple infill of the heavy timber structure, to create a useable space without adding mass that would dominate the original property. We have lined the space with polycarbonate, to allow an abundance of filtered light to fill the room. Though the old kitchen was transformed into a second bathroom and laundry, the original beach house remains mostly unchanged. It was tidied up and repainted so that the charm and character of the post war shack was retained.  © Peter Bennetts  This posting includes an audio/video/photo media file: Download Now |
| Unbot inc. Office / PRISM DESIGN Posted: 06 Apr 2017 12:00 PM PDT  © Studio W
 © Studio W From the architect. PRISM DESIGN provided an office design for UNBOT—an information technology service company. In IT industry, technology renewing in a very fast speed. So that the scale of a company would also expands quickly. That requires the office design to leave the elasticity space for the future expansion.  First Floor Plan  Second Floor Plan Also, communication is significantly important for people in IT industry. The easier a conversation would be hold, the more productive people would be to work here.  © Studio W In this design, we'd like to create a space that could accommodate both various of communicating and relaxing atmosphere to release the stresses from work. So that staff would be much more creative and coorporative.  © Studio W UNBOT's policy is let customers leave with infinite of great memories for their cooperations and always facing new challenges.  © Studio W Therefore in this design, we used the "infinity"concept of Mobius circle. An infinite cycle was designed in the office as a symbol of creation, exchange, manufacturing, success and challenge.  © Studio W Individuals are the fundamental support of a company and each person's growing path were extremely similar to the growing of trees. They both suffered a lot to grow up, while they also becoming stronger with time passing by. So that we used "tree" as a symbol of the columns. A Mobius circle that made by groups of excellent staff, various of conversations and infinite wonderful memories was PRISM DESIGN's best wishes for UNBOT's new office.  © Studio W  This posting includes an audio/video/photo media file: Download Now |
| Dolls House / Day Bukh Architects Posted: 06 Apr 2017 10:00 AM PDT  © Katherine Lu
 © Katherine Lu From the architect. An addition to a dark Federation style semi detached dwelling in Sydney's inner suburbs.  © Katherine Lu A design that has carefully cut, fold and shaped the existing to create a light filled family home that is modest in scale but clever in design.  © Katherine Lu A new open plan living kitchen and dining room with direct level access to the rear garden. A new laundry with drying court.  Section A first floor addition for 2 bedrooms and a bathroom. Master bedroom to have views of the city skyline.  © Katherine Lu The house is to incorporate best possible sustainable / passive solar design principles.  Ground Floor Plan The challenges were to achieve the look of an individual house in a semi detached context. Achieve best possible passive solar design principals in a dense urban environment  © Katherine Lu  This posting includes an audio/video/photo media file: Download Now |
| Theme Revealed for the 2018 World Design Capital in Mexico City Posted: 06 Apr 2017 09:30 AM PDT  An aerial view of Mexico City. Image © Jess Kraft After being chosen as the winning city to be designated as the World Design Capital for 2018, Mexico City has revealed the theme of the year-long program of events and installations: Socially Responsible Design. The announcement was made this week by Design Week Mexico, the country's leading platform for design and architecture, at the 56th edition of the Salone del Mobile Milan, in collaboration with Abitare magazine. The theme of Socially Responsible Design was chosen by organizers to reflect "an ambition to promote the role of design and creativity as agents of social and cultural change within the urban context." With a population that has grown from 5.5 million in 1960 to 22 million today, the Mexican capital is constantly battling the urban challenges associated with rapid urbanization, including housing, mobility and sustainability. Under this theme, Mexico City will play host to a full slate of world-class exhibitions, conferences, urban interventions and educational projects driven by four key objectives: generating opportunities, empowering civil society, preserving heritage and transforming respectfully. World Design Capital will give those in the design community a chance to voice their thoughts on the ever-changing megacity, and showcase their efforts toward building a more liveable, more international city.  Museum of Immortality II, designed by German architects Nikolaus Hirsch and Michel Müller, was displayed at Design Week Mexico 2016 . Image Courtesy of Design Week Mexico Mexico City was chosen as the 2018 World Design Capital in 2015 following a competitive selection process to find a city to celebrate and showcase the positive use of design as an effective tool for economic, social and cultural development. It will be the first city in the Americas (and the sixth city overall) to hold the title, awarded biannually by the World Design Organization (formerly Icsid, International Council of Soci- eties of Industrial Design), an international non-governmental organization that promotes the profession of industrial design. "Mexico City has a vibrant design scene, which has gained increased international attention over the last few years," said Emilio Cabrero, General Director of Design Week Mexico / World Design Capital 2018. "Today, World Design Capital presents an opportunity to challenge and demonstrate our ability to use design solutions to address the social and urban challenges our city is facing. Coinciding with the 10th anniversary of Design Week Mexico, we are determined to create a moment for design professionals, creatives and the general public alike to come together and rethink the role of design in our society in an impactful way." An open call for applicants will be launched ahead of the World Design Capital 2018 that will offer up to 50 international design professionals the opportunity to work in Mexico City for a period of three weeks in June 2018. This residency program strives "to open up an international dialogue for participants to work on the practical implementation of projects addressing housing, mobility, public space and sustainability." For more information, visit the official World Design Capital Mexico City 2018 website, here. News via Mexico Design Week.
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| Posted: 06 Apr 2017 08:00 AM PDT  © João Morgado
 © João Morgado From the architect. The project was designed for a building located in the historical center of Porto, a part of a block composed by 4 buildings built in the early XX century.  © João Morgado  Floor Plan  © João Morgado The building had two separate areas: a store and a house, with no link in between them.  © João Morgado  © João Morgado The program is characterized as "home for an artist ". The owner is a Porto established artist that intended and aimed to join in this building his house, his studio and his large collection. All in the same space.  © João Morgado The urban landscape and context of the building was determinant for the choice to recover the entire facades, as to give back the building's original aesthetic concept and feel.  © João Morgado Due to the degrading shape of the building, as well as modern-day living and design patterns, the decision was made to demolish the whole inside area, leaving only the slab that separates the store from the housing area.  © João Morgado The pre-existing structure of the building was used to create a vertical loft layout made up of 4 storeys, crossed by a single, vertical, 9.6m height, loose, multi-purpose element, which separates and shapes the layout of each floor. The only closed space is the bedroom.  © João Morgado The studio and the storage area where put into the first and second floors, making up a single section that is divided by a mezzanine. Along both of the 1st and 2nd floors, the central element functions both as a separator between the studio and the storage area as well as a large scale shelf, where the property owner's thousands of small drawings and sculptures are to be stored.  Section The third floor is where the living area was placed. Here, the central element is transformed into a kitchen holder, dividing the space into a kitchenette style living room and a small foyer, where the original main entrance is located.  © João Morgado The last floor is a central mezzanine, supported only by the lateral walls and with view to both sides of the house, where the central element is once again transformed into a shelf. The staircase cuts through the building, siding the multi-functional central element, which allows to shape and underline the vertical loft concept and language that was used on this project.  Sketch Stripped contemporary materials chosen for the interiors are in total contrast with the exterior of the building. Outside, the old look of the façade was recover; inside, contemporary materials and visual aesthetics shape the way the space is used and felt once again. The walls, ceilings and carpentry were painted in white, microcement in grey color is used in the floors and OSB was chosen for the central element for its color and texture. But still there was a clear concern of creating small links between the old identity of the building and the new, by using materials such as wood in its natural color on the staircase, tiles on the bathroom and crafted hydraulic tiles in the kitchen pavement.  © João Morgado  This posting includes an audio/video/photo media file: Download Now |
| 8 Exemplary Libraries Selected as Winners of 2017 AIA/ALA Library Building Awards Posted: 06 Apr 2017 07:10 AM PDT  The American Institute of Architects (AIA) and the American Library Association (ALA) have selected eight projects as recipients of the 2017 AIA/ALA Library Building Awards. Founded to "encourage and recognize excellence in the architectural design of libraries," the award draws attention to the changing role of libraries in society, and how exemplary community spaces can change to reflect the needs of their surrounding residents. The eight winners of the 2017 AIA/ALA Library Building Awards are: Boston Public Library, Central Library Renovation / William Rawn Associates  Boston Public Library, Central Library Renovation / William Rawn Associates. Image © Bruce T. Martin The renovation of this 156,000-square-foot civic monument provides immersive and engaging learning experiences for patrons inside as well as pedestrians who pass by. Originally constructed in 1895, this renovation has dramatically transformed a wing of the library from a solid stone bunker to an inviting light-filled space that spills out into a newly defined public plaza. The interior space was carefully reconsidered through the lens of a 21st-century patron to address the needs of all visitors, from pre-readers to adults. To further serve as a hub for education and innovation, the library boasts a range of spaces for both formal and informal convening. A 340-seat auditorium, open space for performances, and a conference center have helped increase public interest and the free flow of ideas. The greatest benefit to patrons, however, is the much more fluid connection between both wings of the library. Columbus Metropolitan Library – Whitehall / Jonathan Barnes Architecture and Design (JBAD)  Columbus Metropolitan Library – Whitehall / Jonathan Barnes Architecture and Design (JBAD). Image © Brad Feinknopf Surrounded by lawns, meadows, and planting beds, the library's façades are clad in metal panels complemented by storefront glazing with varying levels of transparency—greater in public areas and less in staff and support areas. The simple configuration, flooded by reading-friendly northern light, provides maximum flexibility for the rapidly changing needs of modern libraries. Having achieved LEED Silver certification, the library's sustainable strategies can be noted throughout. Interior fins and external louvers on the library's west-facing glass control heat gain while still providing quality reading light, and advanced HVAC systems in the public areas provide service from only the perimeter, allowing easy accommodation of new technologies and future opportunities. Further adding to the library's arsenal of teaching tools, a series of LED screens displays the structure's energy performance in real time. East Boston Branch Library / William Rawn Associates  East Boston Branch Library / William Rawn Associates . Image © Robert Benson Photography With its glass façades overlooking the 18-acre park that emerged from the city's Big Dig project, the new library boasts an airy column-free reading room with dedicated areas for adults, teens, and children. The open plan allows families to visit together and not be corralled into separate rooms, while clear sightlines maximize staffing efficiency. Shelving on casters lends extra flexibility, allowing librarians to curate the collections over time and adapt to the evolving needs of a modern library. Capping the library is an undulating roof that admits ample daylight to fill wood-wrapped common areas. The site was a former brownfield and, beyond its transformation into a civic hub, the library has a number of sustainable features. In addition to high-performance mechanical systems and proximity to mass transit, a stormwater garden greets visitors at the sidewalk, with signage describing its role in promoting the health of Boston Harbor. Overshooting the city's target of Silver, the new library received LEED Gold certification. National Library of Latvia / Gunnar Birkerts Architects + Gelzis-Smits/Arhetips  National Library of Latvia / Gunnar Birkerts Architects + Gelzis-Smits/Arhetips. Image © David Oldham The new library, at nearly 600,000 square feet is situated at the terminus of a bridge spanning the River Daugava. It was envisioned as a place to store, preserve, and make accessible the country's cultural heritage. To that end, it is supported by state-of-the-art technology that allows for easy digitization and safe storage. The library's form dovetails with functionality by accommodating the various collections areas. Presented in vertical arrays in appropriately sized spaces, they all connect to the central stack core. A full wall display of books donated by Latvians as a symbolic gesture soars through the atrium and teases the massive adjacent stack area. The atrium itself, with its central stair, provides connectivity to all the public levels and serves as a unifying element that illustrates the library's logical organization and circulation. New York Public Library Stapleton Branch Renovation and Expansion / Andrew Berman Architect  New York Public Library Stapleton Branch Renovation and Expansion / Andrew Berman Architect. Image © Naho Kubota Expanding from a single-room Carnegie branch library that had served Stapleton, Staten Island, for a century, this project has created a new 12,000-square-foot library that better serves the community. Open, inviting, and accessible, the project stitches together new and old buildings, and provides equal space for tactile and digital learning opportunities. Restored to its original design, the existing Carnegie library now houses the children's area, while the expansion on the other side of a transparent community room contains teen and adult reading areas and research facilities. The library's exposed-wood structure provides rhythm and richness, while the glazed façade supplies natural light and invites participation. Additional natural light comes courtesy of multiple framed skylights, and the variegated surfaces of the roof and façade diffuse and deflect sound waves to soften the acoustics of the open plan. Rosa F. Keller Library and Community Center; New Orleans / Eskew+Dumez+Ripple  Rosa F. Keller Library and Community Center; New Orleans / Eskew+Dumez+Ripple. Image © Timothy Hursley Funded entirely through the Federal Emergency Management Agency's recovery program, the project involved the restoration of a 1917 Arts and Crafts bungalow that serves as a community center and reconstruction of an adjacent 6,300-square-foot library wing. Together, the new library and restored community center provide the neighborhood with an innovative 21st-century facility that offers ample opportunities to engage with technology and alternative educational outreach programs. The project has achieved LEED Silver certification, with all its aspects bearing hallmarks of sensitive community engagement. Key programmatic elements—evident in the catering kitchen and café—reference the importance of culture as the driving force that helps communities recover from disaster. With food and its preparation playing a pivotal role in the lives of so many Louisianans, the adjacency of food and words is the perfect match for a very New Orleans–style approach to sustainability. University of Oregon Allan Price Science Commons & Research Library Remodel and Expansion / Opsis Architecture  University of Oregon Allan Price Science Commons & Research Library Remodel and Expansion / Opsis Architecture. Image © Christian Columbres Guided by feedback provided by the University of Oregon's student body, this project included a complete renovation and addition to an existing underground library. Atop an 48,000-square-foot underground library, the project added 4,000 square feet of new space. Occupying a difficult site wedged between two buildings, sub-floor-to-high-ceiling windows illuminate the commons space with natural light. A new entry pavilion supplements a brutalist courtyard that exacerbated the subterranean conditions of the existing library and maximizes available light below. A wood curtain wall sprouts organically in the courtyard, creating a calming forest atmosphere that completes the expression of light and nature. Students and faculty have enjoyed the variety of spaces, with some students remarking that they had forgotten they were underground since the space no longer feels like a basement. Varina Area Library; Henrico, Virginia / BCWH + Tappe Architects  Varina Area Library; Henrico, Virginia / BCWH + Tappe Architects. Image © Chris Cunningham Photography Firmly rooted in its natural environment, the library's design was inspired by the community's vernacular. With a series of pavilions that emerge and cascade down the landscape, the design's simple palette and forms evoke an assemblage of tobacco barns. Inside, the new library provides countless opportunities for patrons to engage with the collections and the staff. The client and the design team worked hand in hand to develop an intuitive floor plan that maximizes views of the natural setting, further amplified by a back porch–style overlook in the rear of each pavilion. To provide easy access for its nearly 300,000 cardholders, the library's configuration allows for quick transactions when needed. Following that directive allowed the team to consolidate programming and take a balanced approach to open day-lit spaces and enclosed quiet spaces, and to increase efficiency in the mechanical systems and ductwork runs. The jury for the 2017 AIA/ALA Library Building Awards included:
More information on the award and the winning projects can be found here. News and project descriptions via AIA.
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| Posted: 06 Apr 2017 06:00 AM PDT  © Víctor Hugo Navarro
 © Víctor Hugo Navarro From the architect. In the tropics, the rooms of a house may be inner and outer spaces overlapping each other; nature and the house are everywhere.  © Víctor Hugo Navarro It also seeks to express in the house a way of being characterized by understanding the inner and outer as domestic, even in the public and the open; where the exterior and interior are continuous as an expression without barriers of that expanded domesticity.  Ground Floor The house is located on the grounds of an old drive-in movie theater in the city of Valencia, industrial capital of Venezuela. This drive-in movie had already shaped the terrain in an east-west direction, cutting part of the slope of a hill and introducing a slope toward what was the screen of the cinema. The house is located next to one of those cuts of the land, on the high part of the slope.  © Víctor Hugo Navarro The basic idea is to provide the construction of spaces that can interact with the outside directly, linking the people with the surrounding nature and so the house does not become an airtight case that loses its connection to the outside, and also respecting the natural relief of most of the terrain.  Section A The strategy implemented in Guaparo House is to conceive the interior spaces as external and vice versa; therefore it is presented as a succession of unfolded interiors and exteriors sliding rooms: Two contained patios point out, with nature and light, the border between the private and the social.  © Víctor Hugo Navarro Outdoor terraces, arranged in all its facades in different ways: the terrace next to the room generates the duplication of a closed space and when opening the doors generates a space open to the pool and outdoors; the terrace next to the kitchen generates an exit space to services but at the same time a space that will make working in the kitchen much more pleasant thanks to the connection with the outside; and the private terrace next to the rooms that incorporates he green from outside to the space of rest.  © Víctor Hugo Navarro A half underground and covered terrace, as a plaza, will be the scene of multiple activities in which the intention of an open air cinema, in direct contact with the green areas, prevails.  © Víctor Hugo Navarro This succession of interiors and exteriors is accompanied by a horizontal ribbon that comes in and out, defining and showing the sliding rooms, enabling the interior-exterior domesticity. Underneath the ribbon, the interior-exterior dilation of the rooms of the house is framed, while, above, the ribbon defines exclusively in glass, the relationship of the interior with the natural environment where the house is located: on the skirt of the hill and the sky above, the relationship with the afterlife.  This posting includes an audio/video/photo media file: Download Now |
| Zaha Hadid Architects Unveils Designs for Sports-Centered Eco Technology Hub in England Posted: 06 Apr 2017 05:30 AM PDT  Courtesy of Ecotricity British green energy company Ecotricity has revealed plans for a new Zaha Hadid Architects-designed green technology hub in Stroud, England. The project, known as the "Gateway to Stroud," will consist of several greenhouse-like buildings and a wooden footbridge that will connect the campus to the future all-wood stadium for the Forest Green Rovers football club, also designed by ZHA and revealed late last year. Planned as a center for local sports and sports science, the ECO park will provide state-of-the-art office space for environmentally-focused companies as well as public access to a wide range of health and leisure activities.  © Zaha Hadid Architects, render by VA "It will be a place where green businesses and technology companies come together and share ideas: a real focal point of creativity and innovation for the area and a part of the green industrial revolution that's beginning to take off around the world," Ecotricity states on their website.  Courtesy of Ecotricity  Courtesy of Ecotricity Renderings for the Eco Park show a series of glass-enveloped and wood-slatter buildings maintain the architectural language established by the stadium design. An arching timber footbridge will cross over a 4-lane highway to link the two halves of the campus. "The bridge design creates one single, fluid form by fusing together individual timber elements. This important, unifying gesture builds connections for the community, conveying Eco Park as a facility for all," explains a spokesperson for ZHA. "The Green Technology Hub proposals apply the latest sustainable design technologies with ecologically sound materials and construction methods to create an integrated community for world-leading research and development."  © Zaha Hadid Architects, render by VA  © Zaha Hadid Architects, render by VA  © Zaha Hadid Architects, render by VA Sustainability will be at the forefront of all design decisions – the football stadium itself will be constructed entirely from wood, and will be powered by renewable energy sources. A future element of the plan will be a expansive nature reserve that will allow the landscape to thrive in its natural state. The concept also includes the potential development of a public transportation hub, which would offer Park and Ride options to Stroud residents.  Courtesy of Ecotricity  An early concept plan for the site. Image Courtesy of Ecotricity "With Eco Park we hope to push the boundaries of sustainable development, create 4,000 jobs in the green economy, a world class football stadium and make more room for nature with a big biodiversity boost, as well as create a new 'Gateway to Stroud'," said Ecotricity founder Dale Vince. Ecotricity has submitted plans to the Stroud District Council for planning approval, which the company hopes to receive in the coming months. News via Ecotricity.
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| LEKA Open Source Restaurant / IAAC FAB Lab Barcelona Posted: 06 Apr 2017 04:00 AM PDT  © Javier Callejas
 © Javier Callejas From the architect. LEKA is an open source restaurant locally manufactured in the 22@ Poblenou district of Barcelona, developed and fabricated by IAAC FAB Lab Barcelona in collaboration with a network of local dealers and workshops. The project is conceived as an open source platform, where all the knowledge involved (from the design to the recipes, the nutrition tips etc.) is shared and available on the restaurant's web site.  © Javier Callejas  General Design  © Javier Callejas The design has been developed through the definition of several families of elements (furniture, acoustic elements, interactive elements, etc.) and based on developing common features for each of them. Each family required a different constructive system: the furniture had to be tough and prepared for a constant movement, the ceiling and the cladding needed a geometry which could absorb the sound etc. For the development, we create a special design program to each family, obtaining exportable and original systems.  General Design The whole prototyping process required for the production of these non-standard systems has been possible with the aid of the digital production tools. The design has been developed through prototypes, one-to-one models, in which the principles of design, structure or manufacturing process are continuously related.  Design Elements Drawings, construction details and models have been substituted by this series of real-scale models, allowing to develop a design by testing its result directly in the making, adjusting it until the system was ready for production. These non-standard designs are displayed on LEKA's web platform, and available for the download. Customers can continue their LEKA experience either cooking an original recipe, or fabricating any of the furniture at home.  © Javier Callejas THE ACOUSTIC ELEMENTS The wooden false ceiling is inspired by origami, combining in its design lightness and rigidity. Its acoustical performance is due to its geometry, which breaks the sound waves and dispels the echo. The ceiling hangs under a base of sound absorbing rock wool and is built with 3.5 mm thin birch boards bonded under pressure. This system works as a 3D puzzle, easy to assemble.  © Javier Callejas The cladding system draws a free line on the walls of the restaurant, which recalls the origami rooflines. It consists of conical holes that lead the sound wave inside, where they are absorbed by the mineral wool.  © Javier Callejas THE FURNITURE The geometry of the furniture is inspired by the triangulations of the project and adapts to the design requirements of each piece, conceived to have multiple combinations depending on the changing configuration of the restaurant.  © Javier Callejas The construction of the different furniture pieces is made with the same technique: a common design on the union between pieces. This union provides the necessary rigidity to withstand the continuous movement of the restaurant and allow quick assembly.  Furniture design The tables are combinable in different arrangements, from a linear composition for a maximum density of diners to a combined composition for a large celebrations' table. High tables are also triangular and combinable in linear, organic and even hexagonal provisions.  © Javier Callejas The chairs are ergonomically designed to be stacked and save space in the restaurant. The stools are ergonomically designed, again, based on triangulations. Most are arranged in the bar, forming an elevation which letters L-E-K-A play within the set.  © Javier Callejas  This posting includes an audio/video/photo media file: Download Now |
| Call for Entries: 2017 MAD Travel Fellowship Posted: 06 Apr 2017 03:00 AM PDT  © Marc Goodwin To architecture students worldwide, MAD encourages you to apply for the 2017 MAD Travel Fellowship. This is the first year that the MAD Travel Fellowship will be open to architecture students globally. The program was initiated by Ma Yansong in 2009; MAD believes it is only through travel – the visceral experience of interacting with, and being influenced by, different spaces – that one can begin to understand ideas of context and gain a deeper insight into architecture. During the past 7 years, the program has sponsored 35 students from universities across Mainland China for their international architecture travels to Africa, Asia, Europe, and North America.  via MAD Architects The fellowship will include:
For application requirements, please refer to the following: Panel Judge: Ma Yansong Application Requirements
Please submit the above materials as one 6mb A4 PDF to travel@i-mad.com. The application file should be named as follows: school_major_graduating year_name.pdf Application deadline: May 7, 2017 Recipient announcements: May 15, 2017  This posting includes an audio/video/photo media file: Download Now |
| "Wasteland" Provides a Tactile Insight into the World of Upcycling in Architecture Posted: 06 Apr 2017 02:30 AM PDT  © Rasmus Hjortshøj A thorough architectural response towards the growing problems of population, climate, and urban migration is currently on display at the Danish Architecture Centre in Copenhagen, in the form of the upcycled Wasteland exhibition. Curated by Danish architecture firm Lendager Group, the exhibits shown in Wasteland are filled with raw materials, processes, experiments and methods, backed up with a long list of shocking facts about our effects on planet Earth: over 2 million tons of CO2 have been emitted globally this year; over 3.3 billion tons of resources have been extracted from the earth globally this year; over 127 million tons of waste have been dumped globally this year—all totalling a cost of over $14 trillion USD resulting from our failure to act on climate change. These are the live statistics (as shown at the time of ArchDaily's visit last Friday) which confront visitors in the first room of the exhibition space. They provide context for what is to follow.  via Lendager Group After displaying these sobering (and rapidly increasing) numbers, the exhibition opens up into a long room, in which the most eye-catching features are the piles of what appears to be waste, lying on the floor. These piles are markers for the themes into which Wasteland is split: cement, plastic, metal, glass, wood and brick. Denmark alone produces 11.74 million tons of waste per annum, of which 4.1 million tons come from construction. So the premise behind Lendager Group's Wasteland could not be more relevant: "What if waste was perceived as the greatest untapped resource and played a crucial role in the development of new buildings?" Waste has become the main local resource within cities.  © Rasmus Hjortshøj  © Rasmus Hjortshøj Paired with each material category is a building project by Lendager Group; proof of the functional and aesthetic qualities that can arise from properly processing and reinventing "waste" materials. Examples include Upcycle House in Nyborg, Denmark, built entirely out of recycled materials. Their upcycling solutions range from turning champagne corks into surprisingly refined floors, compressing newspapers into facade boards, and reusing windows from a school in Copenhagen. All of these material components lay on a table in front of the pile of cement in a range of different forms: raw, in a variety of processed forms, and in their final forms as used in Upcycle House. And, unlike your typical exhibition space, nearly everything in Wasteland is free to touch, hold, stroke, smell and satisfy your senses. Upcycle House / Lendager Arkitekter This format allows for much more than just an intake of facts and images; it engages the visitors with the process of transformation that is essential for Lendager Group's building methods. Understanding the practical implications of the architecture firm's thought process is not only beneficial in comprehending their building projects, but also enables the knowledge developed through Lendager Group's architecture to be shared with visitors in order to be analyzed, evaluated and developed further. The exhibition is clearly intended to grow the web of awareness and plant new ideas into the minds of everyone who walks through Wasteland—because if just 1,200 more versions of Upcycle House were built instead of the standard "benchmark house," 6,700 tons of CO2 could be prevented from being released into our atmosphere.  © Rasmus Hjortshøj  © Rasmus Hjortshøj Following the concrete display are more material samples in their respective material categories, as well as full sized mock-ups including a plastic acoustic ceiling made from PET, commonly used for plastic bottles, that mimics the texture of ordinary felt. For every 1 kilogram of plastic that is reused, our atmosphere is spared 1.5 kilograms of CO2. Separating sections of the exhibition room are recycled windows, replicating the double-layered facade of Upcycle Studios, a series of buildings that include homes and workshops under the same roof to accommodate for our increasingly flexible lifestyles. It is currently being built in Ørestad, Denmark.  © Rasmus Hjortshøj  © Rasmus Hjortshøj Finishing off the Wasteland exhibition is a long table piled with 3D-printed reliefs, rubber molds, and miniature cast facades for one of Lendager Group's models, perfectly exhibiting the Danish firm's excitement for, and desire to share, any processes they find interesting and educational. Whether it is a concept for the physical relocation of old brick facades that follow their inhabitants from rural villages to big cities, or fascinating small details such as a 3D-printed mold, Wasteland is full of treasures waiting to be swept up by open-minded visitors. As one exits the final corner, one is met with the face of Anders Lendager, CEO of Lendager Group, painting a picture of the options we have, and the future that awaits us, if we make the right decisions. Lendager Group and Wasteland have sown some seeds; they just need support to help them grow.
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| Posted: 06 Apr 2017 02:00 AM PDT  © Nico Saieh
 © Nico Saieh From the architect. The "Chilean House" is defined by a series of constructive and architectural elements. Corridors, patios, bases, zaguanes, double paths, etc. corresponds to thermal and domestic solutions that explain its shape and location. These elements were part of the initial requirement of this project as it is a valid option to inhabit the area. Then, came the architectural intention of making these pragmatic génesis elements include the senses, time and geography in the project. The first operation defined a square plant around a courtyard artificially closed by 3 of its sides and geographically confined by the Andes Mountains. This patio is hard on its pavement (clay tile) and is hard on its enclosure (glass). Everything on a plinth of 60 cms. which removes the inexhaustible moisture from the ground and raises the house in search of the mountains.  © Nico Saieh  Planta  © Nico Saieh The tile in the ground turns this patio into an oasis for its quality of being a surface (in 160 ha.) that does not raise dust in summer and is not mud in winter. This hardness is complemented by a floodable strip that generates a mirror of water that replicates the Andean horizon from the interior and serves as a thermal stabilizer in the months of extreme heat. The enclosures of the 3 artificial sides are made up of glazed galleries that are backlit much of the day, this generates the reflection of the environment and therefore the inclusion of the orchard in the patio extending the organic and geographical horizon. This reflective condition of the courtyard in 4 planes also serves to contain domestic privacy by hiding the interior of the house.  © Nico Saieh From the inside the perception is different, the glass sifted by the structure of wooden pillars allows a panoramic transparency of the house that shortens the distances of the maximum paths and manipulates the time perception in the displacements. The internal connection of the bedrooms maintains the intimacy of the house and promotes an independent thermal operation. This factor is relevant considering the climatic polarity of the area with an oscillation in the thermal sensation of more than 30 ° C between winter and summer.  © Nico Saieh  Escantillón  © Nico Saieh An absolutely movable window in the living-dining room dilutes the boundary of the enclosure in the summer months and justifies the reticulated beam that covers a light of almost 12 mts. The geometry of the ceilings is distorted to enhance the presence of the mountain range and a regimen of metal cladding liners interrupt the texture of the tiles to complement the lighting given by the gaps of measures dimensioned in the bedrooms. The interior light of these windows is sieved by a dense repetition of interior trusses in view.  © Nico Saieh  This posting includes an audio/video/photo media file: Download Now |
| Build Your Own Pizza Oven: The Crust-Worthy Guide You Didn't Know You Kneaded Posted: 06 Apr 2017 01:00 AM PDT Over the years, one unique tradition has been growing among architecture students: building a pizza oven. To help maintain this tradition, we decided to share this small guide for a 1.20m diameter mini-oven. Follow these easy steps and quick tips to build your own crust-worthy oven.  Cortesia de Baú / Escola da Cidade During the first steps, building the base of your oven, you'll have to make a few decisions that will determine how much flexibility and how many choices you'll have later in the process. Here are a few helpful hints: - Don’t forget to think of a dry place for wood storage. - Leave a border space greater than the 1.20m of the oven for support.  - The bricks of the base where the pizza is placed should be placed at 45 degrees from the mouth of the oven. This reduces the possibility of getting the pizza peel stuck when handling the pizza. You may want to use refractory brick here, but keep in mind it’ll be a bit more expensive.  - You can make any kind of base you want, but for a conventional U-shaped base, you will need approximately 250 bricks. Now for the oven: Necessary Materials:
Mix the red dirt and sugar, adding water gradually until the mix is sticky.  Cortesia de Baú / Escola da Cidade Reminder: Be careful not to leave the mix too wet, since the oven is made up of a dome and an arch, which are structural elements that transmit their own weight and can overload via compressive forces. To mix we recommend using your feet.  Cortesia de Baú / Escola da Cidade When the base is ready, mark the center and make a circle where the oven will be using a nail and a nylon thread. This "compass" will be used throughout the process.  The mouth of the oven will be a vault made of bricks, so you'll need a form. This form will be an arch with a diameter of 45 to 60cm. Once the form has been made, position it on the base. The arch of the mouth should follow the slope given by the form.  With the mark for the oven ready and the form of the mouth positioned, begin placing the rows of bricks with the dirt mixture, always beginning at the mouth. The first row will be parallel to the base, the next should follow the slope given by the compass we used to trace the diameter of the kiln.  Go up one row at a time by alternating the ends and centers of the bricks. Follow this procedure to the end.  Tips:- After the 4th row, you’ll notice that the bricks will no longer settle easily. You can break them and use the halves so that there’s not too much space between the rows and it doesn’t take away from the strength of the structure.  Cortesia de Baú / Escola da Cidade - Use small stones and the dirt mixture to fill the gaps between the rows. After about the 6th row, leave a space to place a chimney in the back of the oven (not directly at the back, slightly to the side). You can use a cinder block.  At this stage, you will notice that the bricks tend to slide more easily. Use a slightly drier mixture. This is the hard part and you will need to ask for help from other people in the process. The most important thing is to never forget the compass and always follow the slope. After the last brick is placed, you can cover the entire oven with the remaining leftover mixture. It is not a must, but it helps in protecting the kiln from the weather. When the oven is ready, put wood in and make the first burn. This way, the sugar will melt and improve the performance of the clay mixture. Then, get your pizza party started and enjoy!  Cortesia de Baú / Escola da Cidade Now common amongst South American architecture students, this tradition was born at PUC-Campinas in Brazil, where professor Vitor Lotufo first started teaching architecture students to build pizza ovens. In his classes, Lotufo would construct a pizza oven with his students to explain the structural function of its constructive typologies. Since then, the practice has spread to workshops at various student gatherings and in freshman weeks at a number of schools. For more pizza-y goodness, check out the ovens made by architect Renato Jeuken (a former student of Lotufo’s), in his web project "My pizza oven." Renato explores various shapes, materials, and supports for building the kiln and talks about the tradition of pizza parties as social experiences.  Cortesia de Renato Jeuken  Cortesia de Renato Jeuken  Cortesia de Renato Jeuken  Cortesia de Renato Jeuken  Cortesia de Renato Jeuken  This posting includes an audio/video/photo media file: Download Now |
| Bahá’í Temple of South America Wins 2017 Innovation in Architecture Award Posted: 05 Apr 2017 11:00 PM PDT  © Vanessa Guillen Toronto-based Hariri Pontarini Architects' Bahá'í Temple of South America has won the 2017 Innovation in Architecture Award presented by the Royal Architectural Institute of Canada (RAIC). Located in the foothills of the Andes Mountains outside Santiago, Chile, the domed building was designed and built using computer modeling, measuring, and fabrication software, as well as custom glass, all of which culminated in nine monumental veils that frame an open worship space for up to 600 visitors. Completed in 2016, the project took 14 years to realize.  © Justin Ford
 © Ian David  © Guy Wenborne In addition the Temple is designed to withstand extreme earthquakes and wind. Thousands of individually engineered steel members and nodal connections comprise the super-structures of the wings, each of which rests on concrete columns on seismic bearings.  © Guy Wenborne
 © Hariri Pontarini Architects  © Guy Wenborne  © Sebastian Wilson Leon The Bahá'í Temple of South America will be honored at the RAIC/OAA Festival of Architecture in Ottowa between May 24 and 27. News via: The Royal Architectural Institute of Canada (RAIC).
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