Arch Daily |
- The Space of Synagogues / Franz Reschke Landscape Architecture
- Blackwood Studio / Adam Kane Architects
- Krupachaya Farmhouse / Q-design
- The Filigrane / D’HOUNDT+BAJART architectes&associés
- EMBT Breaks Ground on Pioneering Cancer Center in Barcelona
- Gounod Residence / APPAREIL architecture
- Urban Restaurant - La Pesca / Natura Futura Arquitectura
- London's Garden Bridge Project Should be Scrapped, Report Finds
- Kampos House / Lantavos Projects
- Walsh College / Valerio Dewalt Train Associates
- Call for 360 Videos and Virtual Reality Tours
- LG House / Reinach Mendonça Arquitetos Associados
- Wooden Living-Roof Built With Japanese Joinery Techniques Uses Zero Screws
- Are These "The World's Best Graduation Projects" of 2017?
- How a Return to Vernacular Architecture Can Benefit the People of Mali's Dogon Region
- Spotlight: Léon Krier
- Housing Units Castagnary / Dietmar Feichtinger Architectes
- Samsung Finance Campus / AI ARCHITECTS
| The Space of Synagogues / Franz Reschke Landscape Architecture Posted: 07 Apr 2017 07:00 PM PDT  © Sophie Jahnke
 © Franz Reschke From the architect. Before World War II, a third of Lviv's population was Jewish, making it one of Eastern Europe's major centres of Jewish religious, cultural and social life. The prestigious Golden Rose Synagogue, the Great City Synagogue and the Beth Hamidrash School formed the heart of the Jewish district before being razed to the ground by Nazi Germany between 1941 and 1943. Since then this key site has fallen into neglect.  © Franz Reschke With a view to commemorating and finally cherish the city's Jewish heritage, an international design competition was launched in 2010. Landscape architect Franz Reschke won the competition and later collaborated with Studio Sophie Jahnke. Their design was informed by an extensive dialogue with international Jewish studies experts, historians and local Jewish organisations.  Site Plan All constructions were made under the premise of reversibility and are open to future processes.  © Franz Reschke The concept highlights the historical site and its remains, while respecting the community's attachment to it. It aims to offer an open space both for emotional and intellectual commemoration as well as for a lively dialogue between the past and the present. The void the destruction has left is deliberately preserved and thereby indicates the pre-war Jewish heritage as much as its obliteration. The ruins of the Golden Rose Synagogue have been restored and exposed, while the original foundations of Beth Hamidrash have been visualised by an abstract outline. The Synagogue Square, based on the footprint of the Great City Synagogue, shall be completed in the next few years.  © Franz Reschke Commemorating three buildings with differing architecture and individual purposes, three distinct atmospheres are created: authenticity, vivacity and discomfort. Factual information is deliberately not provided on the site itself, and is only to be found at its periphery. Yet, the Perpetuation memorial installation, an arrangement of dark stones, displays vivid testimonies of both the lively and the threatened Jewish life throughout the centuries, quoting Jewish contemporary witnesses.  © Franz Reschke The design and materiality of the new site conspicuously contrast the surrounding historical urban space. Thereby the empty space is noticeable as such while the structure's details and materials intentionally abstain from aestheticized and functionalized design. Though being constructed of a heavy frame of white prefabricated concrete, Beth Hamidrash's outline appears light due to its elevation off the ground and the pale texture of admixed natural stone. The preparation of this high-quality white concrete has been extremely challenging for Ukraine manufacturers.  © Franz Reschke When entering Beth Hamidrash's outline visitors bring to life a calm and reclusive garden with a bright lawn washed by the locust trees' shadows. A wooden platform retraces the destroyed wooden women's gallery of the Golden Rose Synagogue. The Perpetuation memorial's slabs of dark natural stone form a linear yet offset composition. Imprinted in white with witnesses' quotes and heavily pixelated images, they hint at the location's former educational mission. The cut variations of the slabs mark the Holocaust's destruction as these are made of slate and will weather over time. Visitors are invited to mark the empty slabs with their personal thoughts by using pieces of the crushed chalk stone surfacing.  © Sophie Jahnke  This posting includes an audio/video/photo media file: Download Now |
| Blackwood Studio / Adam Kane Architects Posted: 07 Apr 2017 03:00 PM PDT  © Adam Kane
 © Adam Kane From the architect. Located in regional Victoria, Australia, the Blackwood Studio project was designed as two separate structures (garage and studio) positioned around the existing home to create a sense of 'community' between the structures, whilst providing privacy to the front of the existing dwelling through a central courtyard.  © Adam Kane The painting studio, positioned closer to the existing home, provides a sense of separation without isolation for the owner/artist. The architect believed placement of the new buildings was also important to create a sense of arrival for guests, whilst maintaining a line of sight between the dwelling's entry and the road. The buildings' positioning whilst deflecting the wind, was critical in directing views towards the surrounding gardens. Orientation of the dwellings also needed to consider integration of natural south light, which as an indirect light source was a key requirement of the client's brief to paint within the studio.  © Adam Kane The building forms are rural in nature with their gable roofs, referencing the typical historic barn forms of the area. With unnecessary ornamentation stripped from the facades, the buildings' contemporary exteriors are clad in a prefinished compressed cement sheet cladding and corrugated metal, both of which reference materiality of past generation's construction methods for ancillary barns/sheds of the rural surrounds.  Floor Plans Complementing the refined exteriors, the interiors were stripped back to create a minimal white aesthetic. Used as a painting studio / gallery space these pristine white spaces are enhanced with the integrated LED strip light at the ceiling's ridge which was designed to mimic a thin slice of sunlight, whilst providing a wide spread of functional diffused light. The light's integration within the ceiling was also able to enhance the clean and strong conceptual aesthetic, devoid of light fixtures, whilst adding a sense of volume to the relatively small floor area. Contributing to the interior's minimal aesthetic is the custom rod bracing which was designed to reflect its essential requirements in as refined a manner possible.  © Adam Kane  This posting includes an audio/video/photo media file: Download Now |
| Krupachaya Farmhouse / Q-design Posted: 07 Apr 2017 01:00 PM PDT  © Atul Kanetkar
 © Atul Kanetkar From the architect. A project on the banks of Walki river, spreading over a land of 2.5 acres ( 10,000 sq.m.) located at village kule, tal mulshi , around 35 km on the western side of Pune city. The site was surrounded by fertile farmland with paddy fields , coconut and mango plantations. The architects had to maintain the footprint of the existing farm house built on 142sq.m. as registered in the gram Panchayat records.  © Atul Kanetkar The evolution of built form can be seen as the result of interaction between the user and his environment, which not only includes the natural, but also the social and the economic environments.  Courtesy of Q-design Client is a resident of Sadashiv Peth, Pune and inherits a typical "Peth" culture, which has houses on small plot widths, causing vertical distribution of spaces. Thus, the foremost requirement was of a multidimensional space, at one level, where the family can interact – come together, amidst nature.  © Atul Kanetkar With regards to the natural look and the experience that the client requested which was in consonance to the architect's philosophy of design with nature, they decided on using the concept of Konkan architecture. The konkan house typically comprises of house made in red laterite stone, commonly known as Chira.  © Atul Kanetkar There was an existing mango tree adjacent to the old structure which was gifted to the client by King of Nepal . The mango tree was conceptualised as the epicenter of the house, the complete built form was planned around the tree in such a way that it became an intrinsic part of the design vocabulary.  © Atul Kanetkar An open space in the form of a Kund, with stepped seating was designed keeping the Mango tree at its centre. The central Kund is surrounded by habitable spaces. Living room on northern side, kitchen and dining on southern side and bed on western side separated by a passage connecting living and kitchen. The living room is buffered on eastern and western side by large verandahs (padwi).  © Atul Kanetkar  This posting includes an audio/video/photo media file: Download Now |
| The Filigrane / D’HOUNDT+BAJART architectes&associés Posted: 07 Apr 2017 12:00 PM PDT  © Maxime Delvaux
 © Maxime Delvaux From the architect. Sponsored by a property developer, the Filigrane is the renovation of a building in the Grand Place of Tourcoing as a bank and eight housing units. The bank occupies the ground floor and the first floor façade, with the eight dwellings on the second floor façade and at the back of the plot. The key challenge of the project is to provide a contemporary architectural response that takes into account the complex built environment accumulated over the course of history.  Elevation Facade A place in the city centre The Grand Place of Tourcoing is a very heterogeneous ensemble. If the notion of alignment touches abstraction, each construction has the merit of having a specificity. Materials, colours, levels, architectural styles ... each building is designed independently. Nothing is prefabricated and small decorative details stand out, supplements of the soul that are endangered by contemporary real estate programs.  Site Plan In the city centre, the location of the building is in a prominent position. The perspective opens from the church square, via the pedestrian streets and the fountains of the Grand Place where the market takes place several times a week.  © Maxime Delvaux "Sitting on the edge she waved her feet, it made small waves that went away, a series of wrinkles that crossed the pool keeping a regular interval; And when they met the other side, they came back, blurring methodically those who continued to come. " Alexis Jenni, La nuit de Walenhammes, Gallimard, 2015, p. 184. (The Night of Walenhammes, book not translated)  © Maxime Delvaux Architectural Facelift The façade is defined by a mixture of regularity and fantasy: rigour in rhythm, fantasy in pattern. The openings of the existing facade determined the modenature, where the full-void ratios were retained. Slightly set back, the window of the bank creates a cantilever effect that lightens the whole.  © Maxime Delvaux Inspired by the drawings made at the guilloche that secure the banknotes, the motif of the façade indicates between the lines the main occupant of the building. In the manner of the pavilions, square panels dress the façade with an original mosaic, interlacing of concrete rosette threads spread around blind eyes. The fineness of the pattern is permitted by the manufacturing technique: high density, high strength, ductile and unbraced concrete. Each panel is poured into a mould, then fixed using the stapled stone technique.  Facade The technique of bridged concrete, usually used on a large scale on monumental constructions, is used here for a more modest realization, thanks to the systematization of the modules and a quasi-artisanal production.  © Maxime Delvaux Disappearing in repetition, the basic pattern creates a texture that can be repeated to infinity. Its bas-relief effect deflects the flatness of the façade, where the natural elements, water and light create a distortion and add a random depth. The deep openings of the windows, in white lacquered aluminium, underline the thickness of the façade.  © Maxime Delvaux Investing in the envelope The original building has undergone many transformations over time. At the beginning of the project, the long plot involved an imbrication of disparate constructions, both in their constructive modes and in the heights and structures. The existing envelope was emptied as a shell and the internal partitioning was completely redesigned to optimize the surfaces and make them habitable.  Perspective Existant  Perspective Project In both the front and back, the existing constructions had wide openings, which were kept as they were for luminous volumes. To preserve the independence and security of the bank, it was necessary to design a new entrance for access to the housing. From the front entrance, to the right of the window, a long corridor leads to the back of the main building. A staircase ascends to a landing on the first floor, where a corridor leads to the various housing units.  © Maxime Delvaux From an existing malleable building, the architects realized this unprecedented construction adapted to the uses and needs of today: a bank with commercial space with pleasant and functional offices, and luminous and well-arranged housing. The challenge of inserting a new building in a marked historical context is successful: the Filigrane plays its part, neither weaker nor stronger than the neighbouring buildings. It fits perfectly into its urban environment and continues the motif tradition. The renovation is a success.  This posting includes an audio/video/photo media file: Download Now |
| EMBT Breaks Ground on Pioneering Cancer Center in Barcelona Posted: 07 Apr 2017 10:15 AM PDT  Render – Kálida Sant Pau Centre. Image © Playtime EMBT has broken ground on Kálida Sant Pau, a new cancer treatment center located in Barcelona, Spain. Led by EMBT co-founder Benedetta Tagliabue, the pioneering project will provide practical, emotional and social support to patients that complements more conventional medical treatment. The latest project in the Maggie's Center global network, the center will offer free programs that are "accessible and provided in a warm and welcoming purpose built space where you can ask questions and seek advice in order to feel supported, informed and understood."  Conceptual Collage – Kálida Sant Pau Centre. Image © EMBT Kálida Sant Pau will be located on a site adjacent to, but separated from, the Hospital's Oncology Wing, to put patients in a relaxing environment and to allow easy access from the hospital for both patients and visitors. Within, private spaces will allow patients to talk with experienced nurses, psychologists and therapists, while public areas and an outdoor garden will provide a calming environment to foster mental well-being. The 400-square-meter building has been designed to be warm and welcoming, with an abundance of natural light and inviting materials that are associated with home. Spaces are arranged on two levels, with an open, flexible lower floor conceived as a sequence of gardens and patios.  Ground floor and landscaping – Kálida Sant Pau Centre. Image © EMBT  Model – Kálida Sant Pau Centre. Image © EMBT At the heart of the building, the kitchen area will bring additional warmth to the space, while the library and large multipurpose room will allow the building to play host to small events. Outside, a garden pavilion will blur the lines been interior and exterior space. "When a person is diagnosed with a cancer, it can feel like a punch in the stomach," explain the architects in a press release. "Often there are tough questions to face, uncertainty of what will happen in the future, difficult emotions to cope with from anxiety to loneliness and feelings of fragility, uneasiness and fear. Kálida will be there to help and support you, a warm and welcoming place that is a refuge from the stress of the Hospital offering a programme of evidence based support which strengthens physical and emotional wellbeing.  Model – Kálida Sant Pau Centre. Image © EMBT  Detail of brick facade – Kálida Sant Pau Centre. Image © EMBT Having supported her husband and professional partner Enric Miralles through his own brain tumour diagnosis and treatment, lead architect Benedetta Tagliabue is uniquely suited to understand the curative value of well-designed architecture. Those wishing to support the project can do so by visiting the Kàlida Foundation website here or get in touch at hola@fundaciokalida.org. With construction now underway, the project is anticipated to complete in early 2018. News via EMBT.  Benedetta Tagliabue. Image © EMBT  Model – Kálida Sant Pau Centre. Image © EMBT
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| Gounod Residence / APPAREIL architecture Posted: 07 Apr 2017 10:00 AM PDT  © Francis Pelletier
 © Francis Pelletier From the architect. The young Montreal firm faced a major challenge when it was mandated to renovate this duplex located in Villeray from A to Z. Its new and singular appearance distinguishes it from others in the neighborhood and forms a bridge between past and present.  © Francis Pelletier The residence, located in a socially effervescent neighborhood, had everything to please the young owners except a bright living space, adapted to their needs. With its finesse and expertise, the team gave a new lease of life to the duplex's existing structure, now transformed into a single-family dwelling. The entire exterior façade, as well as the interior design, were fully revitalized while respecting their original style.  Ground Level  3rd Level Floor Plan To enhance their quality of life and with the aim of raising a family in a more appropriate setting, the owners entrusted APPAREIL with the task of creating an open, bright and warm interior environment. They also manifested the desire to integrate green spaces, which are rather rare in the middle of the city. These major requests became the guidelines of the project and were successfully accomplished.  © Francis Pelletier On the exterior, the transformation took place in two stages. To begin with, thorough work was done on the existing structure. To respect the style of the building, whose construction goes back to the 1920s, original materials were simply renewed. The masonry was completely redone, the foundations were restored and the fenestration of the front façade was replaced. In the second stage, special attention was given to updating the premises. The upper floor, which was added to the building, radiates by its resolutely contemporary appearance and creates a magnificent contrast with the period structure. The huge windows that are now featured on the rear façade offer a greater amount of light inside and a deep view of the charming little lane that runs along the building. Finally, the various roofs of the residence were converted into terraces where the owners can now enjoy a bit of greenery.  2nd Level Floor Plan  1st Level Floor Inside, a great transformation was needed. The team first broke through the different levels in order to decompartmentalize the space and thus create a much more convivial relation between spaces. For similar purposes, custom made built-in furniture was used not only to maximize space, but also to provide a more refined finish. In the same line, white paint was applied on the walls. In addition to its clear and pure appearance, it also gives each room greater light. Just like the new windows on the rear facade which now increase the sun's entrance. It is for this reason that each of the living areas were imagined in the back of the residence. Finally, just like the windows, the addition of black walnut wood to the ceiling and ash to the floor contributed to warm the atmosphere of the residence. From the inside to the outside, APPAREIL has completely renewed the customers' living spaces by creative solutions that maximize luminosity.  © Francis Pelletier  This posting includes an audio/video/photo media file: Download Now |
| Urban Restaurant - La Pesca / Natura Futura Arquitectura Posted: 07 Apr 2017 08:00 AM PDT  © Natura Futura
 © Natura Futura From the architect. La Pesca was conceived in what is a central sector very important in the commercial and social life of the city of Babahoyo, province of the rivers in Ecuador. Ms. Tania sought to expand and to dignify a seafood business that already had 20 years of experience: She needed a local own that she could invest and adapt to generate a better service to their customers.  © Natura Futura  Diagram  © Natura Futura The local acquired is located on the ground floor of an apartment building of collective housing, (building in franco abandonment product of descoordinaciones directives), and is adjacent to a small social area prior to arriving at the street. This is a place of community use, by law all the users of the building have a right over it, as well as urban space the local municipality also has interference. It was the sense of ownership, which promoted the need to socialize the project with the inhabitants of the property so that the project can be and reach a successful end collateral.  © Natura Futura  © Natura Futura Associate the line of the public and private sectors where the limit begins to disappear and the space begins to be an amalgam of circumstances and shared experiences, it is not always easy and pleasant. It must be borne in mind that in the underside of a building is the social life of its inhabitants; the children play and make their poetic individuals, the people flows, social interactions, or may even be invaded by people who are going to give the proper use covered by the lack of lighting. Converging factors that forced us to generate dialog and negotiations to avoid conflicts.  © Natura Futura Made with local labor and on-site construction. The wood, which was for years the material used in the city river and fisheries, is the recurrent material in all the work as a unifying element and activator of the context. The absence of walls allows the space is merged, becoming part of the urban landscape.  © Natura Futura The goal is to generate interventions which respond to a local reality, a more participatory and open architecture where the city becomes lighter, more human.  This posting includes an audio/video/photo media file: Download Now |
| London's Garden Bridge Project Should be Scrapped, Report Finds Posted: 07 Apr 2017 07:00 AM PDT  Courtesy of Garden Bridge Trust London's troubled Garden Bridge proposal may have finally been dealt its final blow, after a new report by senior Labour MP Margaret Hodge concluded that the project should be cancelled now rather than risk pumping more public money into the controversial scheme. Conceived of by Thomas Heatherwick Studio in 2013 and approved by the Westminster Council in December of the following year, the over £46 million of public funding that has already gone toward the project would not be able to be recovered.  Courtesy of Garden Bridge Trust "What started life as a project costing an estimated £60 million is likely to end up costing over £200 million," the report reads. "At the same time the Garden Bridge Trust has lost two major donors and has only secured £69 million in private funding pledges, leaving a gap of at least £70 million that needs to be raised for the capital investment. No new pledges have been obtained since August 2016." Originally supported by Transport for London and championed by high-profile figures including actor Joanna Lumley and former Mayor Boris Johnson, the Garden Bridge project met early opposition from critics who believed the bridge would serve a redundant function as a river crossing in its proposed location. In addition, the bridge would be open from only 6am to midnight, and could be closed up to 12 times a year for private events, prompting several government officials to refer to the scheme as purely a "vanity project."  Courtesy of Garden Bridge Trust Further trouble arose amid allegations of cronyism in the competition process – despite the initial estimates for the Heatherwick-designed scheme coming in at more than 3 times higher than other proposals, the bid was nonetheless deemed by Transport for London to be the most 'economically advantageous'. As a result of these concerns, in July 2016 initial work on the bridge was put on standby to allow for a financial review of the project, with the current Mayor of London Sadiq Khan announcing the formal review by Hodge into the procurement processes and its overall value for money in September of that year.  Courtesy of Garden Bridge Trust The two other firms that took part in the competition, Wilkinson Eyre and Marks Barfield - had just eight days to design and submit schemes, the report found. "This competition didn't smell right from the start," co-director of Marks Barfield David Marks told the BBC. "It is clear that we were just there to make up the numbers and the outcome of this tender had in reality already been pre-determined.  Courtesy of Garden Bridge Trust Hodge's report concludes by advising the city swallow the loss of public funding rather than move any further forward with plans: "In my judgement it is better for the taxpayer to accept the loss than to risk the additional demands if the project proceeds," the report closes. "In the present climate, with continuing pressures on public spending, it is difficult to justify further public investment in the Garden Bridge."  Courtesy of Garden Bridge Trust Chariman of the Garden Bridge Trust, Lord Mervyn Davies, issued this response to the report's findings: "We are pleased that Dame Margaret has finally published her report after six months of uncertainty. We will be studying the report in detail and seeking a meeting with the Mayor to discuss next steps. The Trust remains as determined as ever to make the Garden Bridge happen which will bring huge benefits to London and the UK." See the report in full, here, and check out the full saga via ArchDaily's coverage, here. News via The Guardian, Architects' Journal.  This posting includes an audio/video/photo media file: Download Now |
| Kampos House / Lantavos Projects Posted: 07 Apr 2017 06:00 AM PDT  © George Messaritakis
 © George Messaritakis From the architect. Located in the settlement of Kampos, at the Cycladic island of Paros, the physical presence of the house is enhanced by the sublime rural landscape that surrounds it, which consists of small vineyards, olive groves, and cereal fields.  © George Messaritakis During the design process of the house any attempt of sterile representation of traditional elements or decorations were avoided, while focusing on the habitation archetypes of the island, given through the prism of contemporary living. In the house will reside a 5-member family throughout the year and not just during holidays, with all that this might entail.  © George Messaritakis  Floor Plan  © George Messaritakis The building form derives from the decomposition of a single rectangular volume as a point of startup and the formation of an enclosed veranda protected by the strong northern winds. The removed volume is placed on the terrace of the building and can be used as an independent studio or relaxation space, enjoying unobstructed views towards Pounta area and Antiparos island.  © George Messaritakis  © George Messaritakis The two rectangular ground floor volumes slightly recede the one compared with the other, to reveal part of the internal veranda, and conceivably lead to the house entrance. These are the backbone of the residence with the first containing the common areas while the second the private ones, with the auxiliary spaces playing the role of the connection segment.  © George Messaritakis  This posting includes an audio/video/photo media file: Download Now |
| Walsh College / Valerio Dewalt Train Associates Posted: 07 Apr 2017 04:00 AM PDT  © Justin Maconochie
 © Justin Maconochie "Architecture transformed the student experience encouraging innovative thinking based on project-based learning." – Joe Valerio, Design Principal Walsh College in Troy, Michigan, provides advanced business education to adult professionals. The majority of Walsh students work full-time in the business community and attend classes in the evening. The campus grew organically since its inception in 1970 until it enlisted Valerio Dewalt Train Associates to strategically analyze, design, and implement a campus-wide master plan to increase capacity and flexibility. The goals were to maximize opportunities for student life, improve the student service experience, increase Walsh's architectural presence along Livernois Road, and allow student activity to be visible from the street.  © Justin Maconochie  Section  © Justin Maconochie  Floor Plan 00  © Justin Maconochie The completion of the first phase—the construction of the Barry Center in 2008—established a new architectural precedent, with new facilities geared toward student learning and resources. The second phase provided better support spaces for faculty. The last phase of the project, completed in the spring of 2016, included a major addition along Livernois Road, significant renovation of existing space, and improvements to wayfinding.  © Justin Maconochie Walsh, like most business schools, uses project-based learning relying on the case study method: students work in teams as their principle pedagogy. In order to ensure their success, Walsh needed to provide not only teaching space, but also a range of study and collaborative spaces for the student teams. The new architecture connects students, faculty, and staff with an expanded inventory of different types of rooms and collaborative spaces similar to the work environments of the most progressive companies, helping to encourage innovative thinking and collaboration.  © Justin Maconochie  This posting includes an audio/video/photo media file: Download Now |
| Call for 360 Videos and Virtual Reality Tours Posted: 07 Apr 2017 03:30 AM PDT  For years people have presaged the game-changing aspects of Virtual Reality in the field of architecture. Head-mounted displays like Oculus Rift, Hololens and others can trick your body and mind into thinking you are somewhere else--standing on the edge of a cliff, riding a rollercoaster, or walking around a building you haven't constructed yet. Architects can already work with their usual software (Sketchup, Autodesk Suite, Graphisoft Archicad, Nemetschek Vectorworks, etc) to export models of unbuilt projects for visualization on dedicated devices or smartphones/tablets. And with the launch of apps that use your smartphone's camera to simulate 360° images, and the introduction of cameras that actually capture high-resolution 360° spherical videos and images, representing projects is closely approaching the experience of "being there." Do you have a 360-degree camera? Are you documenting your own projects or other architectural classics in 360-degrees? We'd love to feature our readers' videos on our site, Facebook page, and YouTube channel! Submitting a 360-experience is easy! Send us a Facebook message with a link to your video, upload 360-videos to YouTube and include the tag "ArchDaily 360" or get in touch with us directly using the form below. Upload 360-Degree Videos to YouTube Still not sure what 360-degree videos are like? Here are some examples:  This posting includes an audio/video/photo media file: Download Now |
| LG House / Reinach Mendonça Arquitetos Associados Posted: 07 Apr 2017 02:00 AM PDT  © Nelson Kon
 © Nelson Kon From the architect. The site, of 10,000 m² and adjacent to a beautiful native forest, was slightly downhill facing north and also the best view. The program of this house should be divided between "daytime area” and "night area”. The "night area” would be in higher floor, to provide warmth and safety in this period. On the other hand, the "daytime area” should stay in a lower floor w th full connection to the outside and the garden. The rooms should be broad and open with many patios.  © Nelson Kon  © Nelson Kon  © Nelson Kon The architectural project set the arrival on ground floor in a block parallel block to the street, where there were implanted support areas such as garage, warehouses and a service residence. Separate of this block by generous service patio, but connected by a suspended walkway, a second block was defined, in which are developed the night and daytime program of the house itself. In the higher floor, but level with the arrival, is the family unit of the program, like an apartment, with living room, kitchen and bedrooms - the so-called "night floor".  © Nelson Kon  Corte  © Nelson Kon On the lower level happens "daytime floor” with a second kitchen, guest’s bedroom and social verandas with leisure areas. A generous patio with double height ceiling in apparent concrete structure, supported by light and slim metal pillars, joins these two floors. An wooden lattice, facing the forest protects this patio of the rising sun.  © Nelson Kon  This posting includes an audio/video/photo media file: Download Now |
| Wooden Living-Roof Built With Japanese Joinery Techniques Uses Zero Screws Posted: 07 Apr 2017 01:00 AM PDT  Cortesía de J.Roc Design A multidisciplinary design study by J.Roc Design, based in Boston, has developed a proposal using wood to restore value to an underused rooftop at the southern end of the city. In order to accommodate a series of different activities, which required a wide variety of furniture, and therefore a considerable reduction of space, a subtle treatment was made to the flat surface of the roof creating distinct spaces that could be used for sitting, resting and entertaining.  Cortesía de J.Roc Design Description from the architects. Boston-based J.Roc Design has inserted a sculpted, modular roof deck into a historic Boston building using no screws or fasteners.  Cortesía de J.Roc Design In order to maintain a light touch for strict historic guidelines, the deck is a collection of floating Sapele wood pieces that disassemble into individual 3-foot lengths.  Cortesía de J.Roc Design CNC cut Japanese wood joints are the sole connections, ensuring longevity through harsh winters, and allowing the client to take the deck with him to future homes.  Cortesía de J.Roc Design Programs are each assigned a unique curvature and are woven into the surface of the deck as warp and weft.  Cortesía de J.Roc Design Sculpting areas up from the floor to various levels and angles to produce terraced zones for a range of activities ranging from active to sedentary while Native plants and grasses recreate a New England meadow landscape.  Cortesía de J.Roc Design Find more wood-related products here.  This posting includes an audio/video/photo media file: Download Now |
| Are These "The World's Best Graduation Projects" of 2017? Posted: 07 Apr 2017 12:30 AM PDT  Award winning 'Badabing Badaboom' by Jason Tan (Singapore) presents a Gold House in Dunkwa, Ghana, to house the Gold Exchange and the Miners Union. This 'gift' from the Chinese is a metaphor for China's neo-colonial presence in Ghana and Africa. Image Courtesy of Archiprix International Once every two years architecture schools around the world are invited to submit their single, finest graduation project to the Archiprix International competition and exhibition. This year, the event selected Ahmedabad, in India, to exhibit the results. Here Arjen Oosterman, Editor-in-Chief of Volume, reviews the event and the work on display. You can read an interview with the Director of Archiprix, Henk van der Veen, here. From its inception at the dawn of the millennium (2001), Archiprix International has proved to be an adventure with enormous ambition. To collect, once every two years, the very best graduation projects from architecture, landscape architecture, and urban design schools around the world is no small feat. To comprehensively exhibit this material is also a challenge, and to create a meaningful and productive event around the award session—giving center stage to the selected graduates and their projects—is a task akin to walking a tightrope. And yet, this is what they are achieving.  Award winning 'Badabing Badaboom' by Jason Tan (Singapore) presents a Gold House in Dunkwa, Ghana, to house the Gold Exchange and the Miners Union. This 'gift' from the Chinese is a metaphor for China's neo-colonial presence in Ghana and Africa. Image Courtesy of Archiprix International There are a few, simple components to the formula that are key to its success. The first: stimulating new talent, a factor which stands undisputed as schools, the building industry (Hunter Douglas as sponsor), and graduating students themselves are happy to take part in. As a concept, it naturally relates to each stakeholder's interests and goals. Secondly, the award is a clever mix of Hollywood formuli: the mixture of a professional jury and a popular vote. A jury selects a shortlist of nominees (23 in the case of this year) and selects the best eight. The shortlisted nominees are announced in advance, thereby building momentum and, during the grand award ceremony, the eight award-winning projects are presented. In addition to the professional jury, all participants are also asked to cast their vote resulting in a parallel selection of the "participant's' favorites." Both of these categories (41 projects in total this time around, some favorites doubled with the jury nominees) are presented as a special section in the main exhibition. And, thirdly, the program is enriched by workshops preceding the award ceremony for which the participants can register. In reality around a fifth actually take part. This formula is successful in providing exposure to young talent, forging network opportunities on a truly global scale, and to create what could be described as a benchmark moment for all participating (and even those non-participating) schools. The exhibition displays what the newest generation is up to and shows which schools are the most successful in delivering interesting practitioners. It even shows—when you take time to take it all in—trends and developments among the different 'shifts' leaving the schools.  'Housing for Construction Workers in Ahmedabad', designed by Hannah Broatch (Auckland, New Zealand), confronts the poor living conditions of migrant workers. Selected as one of the nominees. Image Courtesy of Archiprix International This latest incarnation was held at CEPT University in Ahmedabad, India. Designed by Balkrishna V. Doshi, the campus is an incredible demonstration of how relaxed and generous architecture can be; how buildings can invite occupation instead of prescribing use. Ahmedabad as context is adding to this a collection of centuries-old and Modernist highlights, among them several Le Corbusier designs (Mill Owners' Association Building, Villa Sarabhai, Sanskar Kendra Museum, Villa Shodan), a Louis Kahn (Indian Institute of Management), an Eames (National Institute of Design), and so on. But apart from "the masters", this part of India seems to be the natural habitat for architectural Modernism – in fact, its spatial ambitions can be explored to the full in this climate, unhindered by the need to protect from the cold, to seal off buildings and cocoon them. The city is also full of particular challenges that come hand-in-hand with metropolitan development. All in all, therefore, fertile ground for the workshops to explore. As far as the harvest is concerned, It was interesting to observe that a theme like sustainability is no longer the main focus of many projects, but a programmatic component that is more naturally interwoven with the core issue being confronted. Another striking new reality was that there were so few projects that were "dressed to impress" (like the majestic stadium, the power tower, and so on). The attention was rather dedicated to needs and situations that begged for attention; for clever solutions and inventive processes. There was clearly an eagerness among participants to contribute and make a difference – and, therefore, to not stand out so much.  Filippo Fanciotti (Genova, Italy) presents with 'Ipomoeoid: A Climbing Neighborhood' the start of a settling and transformation process in Rio de Janeiro (Brasil), taking growth, informality and self-organization into account. Image Courtesy of Archiprix International The Russian submissions demonstrated that hardcore Beaux-Arts methodology (dominant in most of their projects until this year) appears to be in retreat – and what a relief. Speaking more globally, an ever greater percentage of the participating projects reach a high level of sophistication (in presentation and in addressing the issue the project focuses on). Naivety can only be found in a few projects, in my opinion. It's hard to say if this is part of the "Archiprix Effect," stimulating schools to provide a better education, but international exposure and exchange are certainly influential – also in what students expect and demand from their school. There is also a clear (re)surfacing of an awareness of the political agency of architecture. Jason Tan's (Singapore) project, dedicated to "the politics of conditioned air in a gold-rush boomtown", is a good example. In his Gold Exchange annex Gold Miners Union building for Dunkwa, Ghana he cleverly exposes the exploitative presence of China in Africa. And while this all sounds like good news, architecture and architectural practice have to change in order to play a (more) relevant role in the transformations and challenges our societies are being presented by. Exhibiting talent and stimulating quality education is important, but it may not be enough. How to properly connect the inside and the outside of the profession is the next hurdle.  Both Nominee and Participants' favorite (24 votes), 'Walk Around Music' by Hannah LaSota (University Park, USA) locates a Sensorium in underground Detroit 'to evoke motion and elicit emotion'. Image Courtesy of Archiprix International  Both Nominee and Participants' favorite (24 votes), 'Walk Around Music' by Hannah LaSota (University Park, USA) locates a Sensorium in underground Detroit 'to evoke motion and elicit emotion'. Image Courtesy of Archiprix International Size-wise, Archiprix International may be reaching its limits. The catalogue includes the full list of all 1700 architecture/urbanism/landscape design schools in the world, a telephone book of sorts, also indicating which schools contributed to this Archiprix and which ones participated in previous ones. Some schools supported all nine events, some tried once and never returned. By 'landing' the event every time in a different country and continent, the Archiprix organization hopes to persuade 'local' schools to join in. With good result, because the total number is still growing. There is also a growing number of countries that sets up a national Archiprix, modeled on the Dutch original (that dates back to 1979). Great, keep up the good work. But it seems that some of the more prestigious schools, like the Ivy League schools in the US, are (still) not participating. One can think of two reasons: for big schools it is simply too complex to select and submit one plan, or there is not this one person taking responsibility for the process (in the end it is always individuals that make a difference). Another could be the competition element: if, let's say a graduate from Columbia doesn't win an award, or worse, is not even nominated, the school has lost. Some schools don't want to be exposed to such 'criticism'. Participating includes taking a risk. A more fundamental challenge is that architecture is becoming more and more an interdisciplinary activity and process, in which the architect is one of the advisors. This 'integral process' development, resulting in collaboration between different proficiencies and disciplines is much harder to present in six panels and judge without reading extensive explanations. Schools will also select with the project's potential for success in mind. And the Archiprix formula seems particularly suited to give brilliant designers extra exposure, magicians with space and material. Today, this may not be top priority when it comes to generating attention for, and repositioning the relevance of, the field of expertise called architecture.  'A Different Kind of Museum' by Andrei Puică (Timisoara, Romania) recycles abandoned rural homes. The plan addresses conservation, modernity, urbanization and cultural identity in one gesture. The project was selected as participants' favorite (19 votes). Image Courtesy of Archiprix International The workshops are clearly an attempt to broaden the formula and to include some aspects that are much harder to get across in the competition itself. Like collaboration, like addressing local issues from (literally) different backgrounds, like the role of research. And yet, how to make this more than an important experience in the lives of some eighty young professionals is a challenge. Broadcasting in multimedia times is still a serious struggle. There is also a challenge when it comes to making connections to the field of production. How do you reach, as Archiprix organization, decision makers, creators of policy plans, corporate clients and so on? Countries that started their own national Archiprix seem more successful in establishing such connections, making good use of the prestige that comes with Archiprix International. But it remains a hard reality. It appears that the profession of the architect is being challenged from two sides. Part of the architect's professional knowledge is and will further be absorbed by expert systems, in direct connection to the building industry and production. And part of the architect's say and control over 'the design' is taken over by the consumer, being quite capable to indicate their own needs and preferences. That doesn't leave the architect empty handed, but it does pose the question: how do you prepare the professional—formerly known as the architect (as Kas Oosterhuis puts it)—for the tasks and challenges at hand? How to provide a platform that stimulates talent able to perform under such conditions?
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| How a Return to Vernacular Architecture Can Benefit the People of Mali's Dogon Region Posted: 07 Apr 2017 12:00 AM PDT  Primary School Tanouan Ibi. Image Courtesy of LEVS Architecten In our article in February, "11 Vernacular Building Techniques That Are Disappearing," we discussed vernacular techniques that, through the introduction of modern building and the waning prevalence of traditional lifestyles, were slowly becoming lost forms of knowledge. What we didn't discuss, though, was that few of the techniques were disappearing without some form of resistance. After the article was published we were contacted by Dutch architecture firm LEVS Architecten, who highlighted their efforts work in the Dogon region of Mali, where they work with local communities to continue--and improve--the vernacular Dogon tradition. Despite the fact that LEVS Architecten has worked extensively within this tradition, they still consider themselves modern architects who are simply looking for responsible, alternative solutions, and have even found opportunities to utilize this knowledge for architecture projects back in the Netherlands. As Jurriaan van Stigt, partner at LEVS Architecten and chairman of Partners Pays-Dogon, explained in an interview with ArchDaily, vernacular architecture is "in the undercurrent of our thinking and approach to the tasks that lay behind every project." 11 Vernacular Building Techniques That Are Disappearing The story behind LEVS Architecten's involvement in Mali starts after the Second World War, with the increasing demand for social housing in the Netherlands. Enormous apartment complexes were erected with dreams of utopian futures which quickly faded, like the infamously troubled Bijlmermeer. Unsurprisingly, like their international counterparts, Dutch architects began to doubt this utopian approach. Led by Herman Haan, a group of these architects visited Mali and were inspired by what they experienced with the Dogon: "the relation of public, semi-public, open and closed spaces--the generosity of space and in-between spaces for connecting society were crucial," says Van Stigt. Many of these architects were later involved in the Dutch Structuralist movement, centered around the magazine Forum, and were dedicated to what Van Stigt calls the "reinvention of the necessary social glue in society." The mindset that began with Forum in the 1960s and 70s has been carried on by LEVS Architecten, who recognize the need for quality architecture in the rural areas of Mali, as well as the rest of Africa. Although the continent's urban areas are growing at an unbelievable rate, there are still 500 - 600 million people living in its rural areas--Hence van Stigt's question: "how can we build and find answers to the growth of cities, but at the same time deal with the rural areas of this enormous continent?"  Practical Training College in Sangha. Image Courtesy of LEVS Architecten Preservation of Cultural DiversityVernacular architecture is a rich source of cultural knowledge, not just in Mali but around the world. However, with our increasingly urban, modern, standardized lifestyles, some believe that vernacular buildings now hold little more value than serving as tourist attractions for privileged Westerners. However, it is not just privileged Westerners or architecture firms such as LEVS Architecten that see the value of preserving vernacular knowledge. As Van Stigt clarifies, the drive to preserve traditional Dogon architecture is driven "also the local population; not only the old generation but more and more the new skilled and educated younger generation." He adds that "it is not just because of the UNESCO Heritage [of Pays Dogon], it is because it is the root of their existence!"  Courtesy of LEVS Architecten We forget that the communities that inhabit these areas "are the main thing that gives 'architecture' its meaning," as van Stigt says. Their culture and history are embedded in their spatial and building knowledge, especially with respect to the Dogon. Van Stigt explains that the Dogon believe that everything "has a soul, a meaning... family houses, family altars, houses for the men, houses for the women; traditions of feasts every year, every 5 years and even every 60 years are still a very important part of daily life." Their architectural knowledge is therefore, understandably, an important resource that they want to protect in order to sustain their culture.  Primary School Tanouan Ibi. Image Courtesy of LEVS Architecten Strengthening Social WellbeingIn order to maintain the existence of a culture, social wellbeing is also a necessity. Van Stigt points out that "it is not only about a building method, but also about how communities are created and bound." When the government of Mali was trying to modernize communities by imitating modern Western architecture, large concrete school blocks were built in the area. Not only was this a demonstration of their lack of respect for traditional building knowledge and culture, it was also proof of the lack of "connection with the community, because they were not built as a part of the village... the community could not even contribute to the building process of communal buildings, which is a Dogon tradition," explains Van Stigt.  Courtesy of LEVS Architecten Taking a person who has grown up in a rural environment and placing them in an urban building does not mean they will automatically shift to an urban mentality. LEVS Architecten responded by developing the Tanouan Ibi Primary School, "developed and built together with the local community as an equal partner," says Van Stigt. "This creates commitment and a more sustainable future because it isn't just a school building, it's theirs." Despite the strict compositions of Dogon communities, LEVS Architecten managed to build a successful building with a relatively new program, indicating how the evolution of a vernacular building method can be far richer, more engaging and provide more development to a society than stereotypically "modern" building techniques. Primary School Tanouan Ibi / LEVS architecten Education and Expanding Our Architectural KnowledgeAccomplishing this revival of traditional Dogon building techniques could not happen without some form of experimentation, however. Traditionally, the Dogon covered their stone constructions with loam to protect against the sun and rain, using a type of wild berry as a critical strengthening ingredient in the material. However, the loss of these berries through desertification has resulted in structures that must be replaced each year, with buildings often simply left to deteriorate instead. To address this problem, 20 years ago LEVS Architecten began to develop Hydraulically Compressed Earth Blocks (HCEB) in order to provide the Dogon with a durable building method that is still based on local materials and is not dependent on concrete support structures. Although the current mixture for these blocks does contain a little cement (less than 5%), the architecture firm is experimenting with other materials that could replace this ingredient such as lime, rice bran, and crushed shells. As van Stigt puts it, "it is surprising that we still believe that concrete, one of the largest contributors to CO2 emissions, is the only solution for building."  Courtesy of LEVS Architecten Learning from and being exposed to previously undiscovered techniques, such as mixing berries into your earth to make it up to 700% more durable, is forcing architects such as LEVS Architecten to rethink the way they approach architecture. Van Stigt believes that "by knowing the nature of a material we can build new advanced techniques to adjust exactly what is needed for 'new modern use.'" In a world where extreme environments are likely to become more commonplace, it is important to learn from cultures that have survived through such environments for hundreds of years. Again, van Stigt reiterates how important this is: "The Dogon watch and trust our Western way of working and thinking too much. Today we may be ahead but the future could be in Africa--once they make smarter decisions based on this 'what if' question."  Courtesy of LEVS Architecten Sustainability"Not making things is always more sustainable than making sustainable products that we actually don't need," says Van Stigt. Through the vernacular building techniques of the Dogon--and most vernacular building techniques for that matter--transportation costs are reduced to almost nothing. "In Nando we built with natural stone with plastering, in Yougho only with yellow-brown mud, in Tin Tam with very red, almost rusted iron-colored mud, and in the plain with almost white sand-colored mud," says Van Stigt of the various different projects LEVS Architecten has completed in Pays Dogon. The concrete that makes up less than 5% of the HCEB earth mixture makes up 85% of the total cost of producing those blocks, simply because it is imported. It is clear to Van Stigt that the standard modern techniques are not a solution in Africa. "If we really think we can continue to build everywhere in Africa, for 1.3 billion people, in this way, we can imagine the increasing problems for nature and global warming," he says.  Courtesy of LEVS Architecten Improved Quality of LifeFinally, and perhaps surprisingly to some, vernacular architecture can help to improve people's quality of life, largely due to the reduced costs of building. Communities can get far more for their money when building with local materials, local workers, and local knowledge than if they import concrete slabs that are too expensive, too hot for their environment, and not built as an integrated part of their community. Van Stigt explains that "the Dogon area in Mali is underdeveloped, as the government hardly invests in this remote region of the country. Therefore, the development of new building techniques based on local construction methods, using local materials and training new masons creates a spin-off for local development." The HCEB technique is a perfect example of this. As LEVS Architecten continue to explore further methods of building, van Stigt leaves us with an important message: "the preservation and adoption of techniques combined with new, improved uses of this knowledge is a must if we really want to achieve a more equitable quality of life all over the world."  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| Posted: 06 Apr 2017 11:00 PM PDT  Town of Poundbury, England. Image © Andy Spain One of the most boldly dissenting voices of our time, architectural and urban theorist Léon Krier (born 7 April 1946) has throughout his career rejected the commonly accepted practices of Modernist Urbanism, and helped to shape the ideals of the New Urbanism movement. Through his publications and city designs, Krier has changed the discourse of what makes a city successful and returned importance to the concept of community.  via Screenshot from video by The Berlage Leon Krier was born and raised in Luxembourg where, along with his brother Rob, he took an interest in the progressive images and visions of Modernist architects and planners such as Le Corbusier and Mies van der Rohe. Upon entering architecture school at the University of Stuttgart, however, Krier began to critically evaluate his beliefs, poking holes in Modernist theory and ultimately finding the majority of its ideals to be "shallowly based."[1] Instead, Krier started looking toward Classical and traditional buildings and urban plans as stronger manifestations of architectural needs. In 1968, after just one year in the program and no longer subscribing to the defined curriculum of the university, Krier abandoned his studies and traveled to England to work for James Stirling, whose work was beginning to draw more inspiration from Classical precedent. After 3 years in Sterling's office, Krier returned to the academic world to teach at the Architectural Association and the Royal College of Art as professor of architecture and town planning, while subsequently running his own planning practice. During this time, Krier published his first book, Rational Architecture, and became known for his analytical and often satirical drawings. The drawings reflected his urban philosophies, and laid the political groundwork for New Urbanism, defining ways of reclaiming a civic pedestrian cityscape from urban areas increasingly defined by automotive infrastructure. Krier believes that the city should be designed around the physical capabilities of the human body, resulting in city centers that take no longer than 10 minutes to walk across and building heights that rise no more than 100 steps.  Jorge M. Perez Architecture Center at the University of Miami. Image © <a href='ttps://www.flickr.com/photos/miamism/21705313080'>Flickr user miamism</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> These New Urbanist ideas later manifested in designs for existing cities such as Rome, Stockholm, Munich and Washington DC, as well as new-built communities, notably Cayalá, Guatemala and the town of Poundbury in England, which was famously commissioned by Charles, Prince of Wales, a well-known opponent of architectural modernism. These towns feature tightly-knit blocks of buildings in traditional architectural styles surrounded by a fluid multi-modal system of plazas and pathways. Krier has admitted that New Urbanist towns could still be successful employing buildings of a contemporary style, but there is a reason the traditionally styled designs have received more acclaim, stating, "Urban structure as a set of organizational principles is largely independent of style. [But] Modernist architecture is generally so bad and arbitrary that it is almost totally inappropriate for most common uses and climates."[2]  Town of Cayalá, Guatemala. Image © <a href='https://www.flickr.com/photos/xiroro/16601866372'>Flickr user xiroro</a> licensed under <a href='https://creativecommons.org/licenses/by-nc-nd/2.0/'>CC BY-NC-ND 2.0</a> In his 2007 book, Architecture: Choice or Fate (in 2009 supplemented and retitled The Architecture of Community), Krier outlines Modernism's failings in creating visual typologies, explaining urban landscapes as conversations that require an assortment of textures and scales within each neighborhood, unlike the highly stratified neighborhood structures proposed by Le Corbusier. The book also takes on methods of scaling buildings up or down and placemaking techniques, and is illustrated with critical diagrams contrasting Modernist and New Urbanist cities. In addition to his city plans, Krier has also completed a limited amount of architecture work, most notably in his temporary facade for the 1980 Venice Biennale; the Krier house in the New Urbanist town of Seaside, Florida; the Archaeological Museum of Sintra, Portugal; Windsor Village Hall; and the Jorge M. Perez Architecture Center at the University of Miami, Florida. The Berlage Archive: Leon Krier (2010) References
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| Housing Units Castagnary / Dietmar Feichtinger Architectes Posted: 06 Apr 2017 10:00 PM PDT  © David Boureau
 © David Boureau From the architect. The new building is aligned on rue Castagnary and recedes in an L-shape towards the adjacent building in the north. Its medium scale ensures urban continuity and the density in this quarter. The building is covered by an envelope of white metal blades, consistent with the dominating color of the quarter. Its vocabulary is contemporary and in line with the finesse and attention to detail some housings in the neighborhood. The rhythm of the openings and the large vertical apertures are inspired by Parisian windows.  © David Boureau The ground level and the first three upper floors follow the alignment of the sidewalk but the façade inclines from the last two levels onwards. The height of the building corresponds to the height of its neighboring buildings on rue Castagnary. The ground-floor consists by a transparent glass facade and offers space for commercial use.  Facade From the first floor on the treatment of the entire façade is homogenous, including the inclined section. It consists of fine white vertical metal blades and sliding panels to open and close adjusted to the different use during day and nighttime. The panels are not only sliding, but also the blades are mobile to ensure solar protection.  © David Boureau  © David Boureau The windows emphasize the verticality of the structure. The garden-side façades are constituted of a white-lacquered metal envelope laid out irregularly. The gables however display the concrete as construction material. The concrete is apparent from the perspective of rue de Vouillé and presents a layout similar to that of the metal façades hammered on the concrete. The architectural language of the façade ensures the integration of the building within the road and gives it moreover a strong identity.  © David Boureau  Section AA  © David Boureau The play of the mobile panels and the changing inclination of the blades animate the façade. The aluminum frames and the blades have a similar tincture. Cantilever balconies give the eastern edge more ease and add the convenience of a private outdoor space. Each apartment features a south oriented balcony, the windows onto the garden are equipped with exterior shutters. Solar panels are installed on the roof. They are slightly inclined to ensure self-cleaning.  © David Boureau  © David Boureau The floors are accessed via the core of the building to the floors. The mail boxes are installed in this open-air porch. From the courtyard, an elevator and an exterior stair lead to the floor corridors. The steel stair is covered by a full-height stainless steel grid towards the garden. The corridors giving access to two apartments are in the open air and ensure thus natural lighting of the communal spaces and ventilation of the apartments. The corridors protected by means of a stainless steel grid offer an unobstructed view over the landscape.  © David Boureau  This posting includes an audio/video/photo media file: Download Now |
| Samsung Finance Campus / AI ARCHITECTS Posted: 06 Apr 2017 03:00 PM PDT  © Joonhwan Yoon
 © Joonhwan Yoon From the architect. Located in the heart of Seoul's Gangnam commercial district, the Management Training Campus for Samsung Group's finance affiliates includes fire and life insurance, credit card and brokerage service companies. Facilities include various capacity classrooms and breakout rooms, 400 seat convention hall, 250 seat cafeteria dining, and social club spaces.  © Joonhwan Yoon Interior design concept was to bring all the diverse functions into "one connected space".  © Joonhwan Yoon  © Joonhwan Yoon The building's seven floors of interior spaces are seamlessly connected through voids, grand stairs, and an open glass elevator. The open elevator core acts as an important vertical void where one can take a journey through the entire building. This elevator is the centerpiece of the design concept.  © Joonhwan Yoon  This posting includes an audio/video/photo media file: Download Now |
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