Arch Daily |
- 5 Daily Newsletters To Help You Power Through Your Architecture Job
- Stefan Behnisch: LIVE KEYNOTE from the 7th VELUX Daylight Symposium
- B30 / KAAN Architecten
- House Y / Arkkitehtitoimisto Teemu Pirinen
- Five-Dragons Temple Environmental Refurbishment / URBANUS
- Design Strategy & Research Center / THE_SYSTEM LAB
- Sayanomoto Clinic / Yamazaki Kentaro Design Workshop
- Blackburn House / ArchiBlox
- Raíces Educational Park / Taller Piloto Arquitectos
- Kosmos Architects Wins Competition for Landmark Nike Sports Park in Moscow
- Stanford Apple Store / Bohlin Cywinksi Jackson
- Maria & José House / Sergio Sampaio Arquitetura
- Iranian Case Study: Can We Build For The Future Without Forgetting About The Past?
- Schoolgarden “De Buitenkans” / RO&AD Architecten
- Experience Cities From Above With Crystal Clear Drone Videos
- EMBT Unveils Proposal to Revitalize Seven of Milan's Disused Railway Yards
| 5 Daily Newsletters To Help You Power Through Your Architecture Job Posted: 02 May 2017 09:00 PM PDT  How do you start your day? Chances are that between opening your eyes, getting out of bed, heading for a cup of coffee and brushing your teeth, you're part of the majority of people who check their email within 15 minutes of the alarm clock sounding. It's a pretty intense way to begin the day, so we thought we'd share some daily email newsletters that lift our spirits, make us wiser, and give us the positive energy needed to tackle a long day's work. The best part is that you never stop learning. 1. The Download (MIT Technology Review) "The Download" The Download distills "what's important in technology and innovation" and delivers it to your inbox everyday. From artificial intelligence to self-driving vehicles, and smart cities to Internet culture, there is an increasing requirement to be kept abreast of how this all-encompassing world is affecting (and could in the future) design, architecture, and the built environment. Subscribe to The Download, here. 2. DailyDose "Daily Dose" A neatly curated "daily dose" of spaces and design from an ever expanding body of architects and practitioners. Edited by Swiss-based architect Raphael Kadid, this newsletter skillfully reveals world-class bodies of work – and takes suggestions, too! Subscribe to Daily Dose, here. Past issues can be found here. 3. The Daily Overview "Daily Overview" The Daily Overview posits that it is not enough for us to simply admire the novel aesthetics of satellite imagery. The medium of aerial photography is a chance for us to both marvel at the beauty we have created in the world, and that which we have destroyed. In other words, it asks us to comprehend the magnitude of our responsibility to preserve and protect the planet we call home. Subscribe to The Daily Overview, here. 4. Corbie "Corbie" "With easy to take in, daily lessons prompting us to keep up our growth in our inboxes every day, it's never been simpler and more enjoyable to expand our minds. Our expert team generates high quality content on subjects like art, science, and history, that will keep up your curiosity, inspire you to keep going, and increase your knowledge a little more each day." Subscribe to Corbie here for a two week trial. An example can be found here. 5. The ArchDaily Newsletter "ArchDaily" If you don't already have architecture delivered to your inbox—daily—, consider subscribing to our newsletter! Simple in format, it delivers the best projects from around the world, news, and editorial published on our platform. Subscribe to our daily newsletter, here. Bonus: What We're Reading (The New York Times) "What We're Reading" If you appreciate being delivered an eclectic round-up of reads twice-weekly, What We're Reading pools together the collective efforts of New York Times reporters and editors in order to highlight "great stories from around the web." Subscribe to What We're Reading, here.  This posting includes an audio/video/photo media file: Download Now |
| Stefan Behnisch: LIVE KEYNOTE from the 7th VELUX Daylight Symposium Posted: 02 May 2017 08:20 PM PDT Stefan Behnisch (Germany) from Behnisch Architekten, an award-winning architect and advocate of sustainable design, is one of four keynote presentations by critically acclaimed architects that will be live-streamed from the international forum for daylight and architecture, the VELUX Daylight Symposium, to be held for the 7th time, 3-4 May 2017. This year, the Daylight Symposium features leading international architects who will share ideas, experiences and viewpoints on how daylight matters in architecture. See the full programme here.
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| Posted: 02 May 2017 08:00 PM PDT  © Karin Borghouts
 © Karin Borghouts From the architect. Originally built in 1917, by the then chief government architect Daniel E.C. Knuttel, as a Ministry during a period of austerity and renovated in 1994 by professor Hans Ruijssenaars, B30 is an imposing structure with a strong, distinct architectural character and it is a Grade 1 listed building in the Netherlands.  © Karin Borghouts B30 is located in The Hague city center, alongside the Haagse Bos green space. It stands on Bezuidenhoutseweg, an historical arterial route connecting the Royal Palace Huis ten Bosch and the Dutch Parliament, Het Binnenhof.  Site Plan KAAN Architecten's design with its clear layout and architecture transforms the enclosed, hierarchical building – with an atmosphere representative of people's perception of the State in the early 1900s – into an open, transparent and inviting setting in line with a contemporary and state-of-the-art working environment.  © Karin Borghouts Thanks to an acute analysis that has mapped the essential qualities of the original design to create an inspired framework, the historic building is seen not as a dead museum piece, but as a vital and sustainable component of the total design.Anchored in its urban setting, broader landscape and historic environment, B30 features an accessible and transparent public ground-floor, including restaurant, café, library, meeting and seminar rooms. All passageways are aligned with each other, creating long sightlines through the building, enhancing contact with the street, woods and gardens, and simplifying orientation and way-finding.  Section  Section At the core of the building, a large Atrium becomes the quiet heart of B30. Here, Dutch artist Rob Birza was called upon to design a new mosaic floor pattern, a garden abstraction giving life to an internal landscape that is visually connected with the city forest and the new side gardens. Knuttel's original design has been expanded on both sides: the Seminar Foyer features meeting rooms, seminar rooms, and a sunken auditorium running through the glazed space, while the Work Foyer is characterized by lounge and working areas, an espresso bar and a library. The Foyers' partitions feature large pivoted glass doors encased by high-gloss aluminum frames opening onto the gardens.  © Karin Borghouts  Scheme Mosaic Both Atrium and the Foyers have been covered by a series of daylight shafts that borrow from the ubiquitous original coffered ceilings and take as their design principle a square base topped with triangular glass. These elements have been positioned for an optimal dispersion of sunlight, while preventing overheating by solar radiation.  © Sebastian van Damme The monumental staircase grants access to the magnificent former Minister's Room on the first floor, while the Atrium visually connects with the four upper floors, which accommodates the workspaces of the various institutions. A new level of offices is situated over the "nave" of the building, and flows into the roof, where the height has been reduced from 30 to 20 metres to bring good scale and proportions to the inner courtyard.  © Karin Borghouts The façades of the new additions consist of a sandblasted concrete frames filled with stone and a colouring agent that matches the tones of the original building. Moreover, the change in hierarchical relations and the importance of the ground floor has been expressed in the façade by enlarging the windows: the openings have been taken down to the stone plinth of the building, moving the window sills down and lengthening the jambs.  © Karin Borghouts B30 now gives space to contemporary ideas regarding government transparency, seen through the original design. A spatial expression of a shared vision that will inspire curiosity and invite research and debate.  © Karin Borghouts  This posting includes an audio/video/photo media file: Download Now |
| House Y / Arkkitehtitoimisto Teemu Pirinen Posted: 02 May 2017 07:00 PM PDT  © Marc Goodwin
 © Marc Goodwin From the architect. The client inherited an unattractive "McMansion" with poor spatial layout from his father. The house was designed to meet the tastes of the former generation. The site also featured a large pompous garden with extensive manicured lawns. The house was too big and expensive to maintain. The client wanted to restore the plot to a natural pine forest, and built a small home that fully engages with the surrounding landscape. An added bonus to the restored pine forest is that the client doesn't need to mow any lawns! The new house and garden have been designed to meet contemporary tastes. Hence, this project represents generational shift in design ideology / ecology.  © Marc Goodwin Concept The house consists of three barns put together in a y shape. Each of the three wings possess a different spatial scale (width & height) to meet their individual functions and to create a sense of hierarchy. The scales change to always maintain a pleasant atmosphere. Because of the amazing location, perfect natural light conditions and vistas, the architect did not want to emphasize a specific view. The design concept allows an uninterrupted 245° lake-view. The daily functions of the house follow the cycle of the sun: meals starting with breakfast, evening socializing in the lounge, sauna and bed. Because it is situated on a windy site, the Y-shaped house concept provides protected yards on each side of the house.  © Marc Goodwin The house and the patio are raised to enhance the experience of the scenery. In doing so the scenery appears even more magnificent and imposing than it actually is. By building the living room as a canopy toward the lake the room appears to be floating above water (when viewed from the interior). You cannot see the shoreline of the plot from inside the living room. There is an exit from every room of the house, so in the summertime the interior and the exterior are truly one.  © Marc Goodwin Exterior The house was designed to possess a dual quality. From the side of the main entrance it appears closed, old and traditional (hopefully even a little bit shabby). On the other side, towards the lake, the house opens up with lots of glass and large patios. The wood used on the exterior is untreated so that it will turn grey over time. A goal was to design the exterior to appear scaleless. The important thing was to make the windows to appear as openings on the walls of three connected barns.  © Marc Goodwin Interior The interiors are clad with a subtly whitened spruce to enhance the experience of the scenery. The concept of three inter-joined wings and extensive use of glass create a spatial flow inside the house. The cell like spaces of the bathrooms and bedrooms are introduced into the open interior space as boxes made of white plywood. This was done to enhance the illusion of an old barn that has been converted into a contemporary house. Finally, as a traditional focal point in a home, a large black fireplace acts as the centerpiece of the interior.  © Marc Goodwin  Floor Plan  © Marc Goodwin  This posting includes an audio/video/photo media file: Download Now |
| Five-Dragons Temple Environmental Refurbishment / URBANUS Posted: 02 May 2017 03:00 PM PDT  © Yang Chaoying
 © Yang Chaoying From the architect. Situated in Ruicheng County of Shanxi Province, the Five Dragon Temple (Guang Ren Wang Temple) was built in 831 A.D. during the Tang Dynasty. Ranked chronologically, it is the second oldest among the remaining four architectures of the Tang Dynasty, as well as being the oldest surviving Taoist temple. The Five Dragons Temple experienced several times of renovation during its lifetime, but its structure from the Tang Dynasty remained largely unchanged. However, contrasting to the Five Dragons Temple's exalted historic position was its previous surrounding environment. The Five Dragons Temple is seldom known and has few visitors. Located on a high slope, the temple as a cultural relic was segregated away from the villagers. Due to arid weather in recent years, the past splendor of the Dragon Spring lying at the bottom of the slope was gone now. Additionally, the advancement in agricultural irrigation technology caused the vanishing of the rain praying culture at dragon temples, thus resulting in the decline of the temple as the neighborhood center. In the end, the Dragon Spring, which was the spiritual core of the villagers, gradually deteriorated into a rubbish dump of the village.  © Yang Chaoying From the end of 2013 to early 2015, the National Cultural Relics Bureau restored the Five Dragons Temple and the stage, but the effort only enhanced the buildings, while the surroundings were left unchanged if not worsened. With the improvement of living quality in the village, residential houses became higher and variations in styles. As the tiles and mud walls were replaced in the village, the temple was left in a more desolate state, forcing people to make another thorough renovation. This renovation was intended not only for the renewal of the poor environment of the temple, but also as a new direction in development for this historical village.  Axonometric In 2015, Vanke Group built a pavilion in the Milan Expo, and to leave a legacy after the Expo, Vanke decided to invest in the environmental improvement of the Five Dragons Temple, and initiated the "Long Plan", which is an innovative attempt of cultural relics preservation. The "Long Plan" received support from Shanxi Province's cultural relics authorities and the local government of Ruicheng county. Part of the funds were raised by crowd-funding along with Vanke's donation for the Project of the Five Dragons Temple Environmental Improvement. The whole project was organized under the enterprise management together with the abidance of the relative national cultural relics management regulations. This initiative would then go on to become the precedent where the government and private funds cooperated for cultural relics preservation, as well as the promotion of cultural protection through the platforms of internet and the international Expo.  © Yang Chaoying The non-profit environmental improvement design led by URBANUS gained strong support from the specialists of historic preservation, graphic, landscape design and the joint efforts with the Vanke implementation team. In less than a year, the team had gone through the national approval procedures of relics protection. With the completion of on-site construction, this thousand-year-old temple entered modern life with a brand new environment, owing to the high-quality renovation supported by the national fund.  Plan The design of the environment uplift for the Five Dragon Temple was centered around two themes. An outstanding theme was to create layers of overlapping spaces around the main building to tell the story of the temple history and ancient Chinese architecture. Through this theme, people would learn about the knowledge of traditional Chinese architecture to better understand the importance for the preservation of heritage. The latent theme was to restore the temple into an area of public gathering in the village, and to give an alleviated environment to encourage contemporary lifestyles in coherence with the realms of ancient architecture.  © Yang Chaoying The environment effort began with the renovation of the Five Dragon Spring. With the transition from traditional to modern agriculture, as well as the depletion of natural resources, the spring essentially became a garbage yard. After the renovation, the relics were once again protected. The reeds from the banks of the Yellow River matched well with the weathered relics, and the mud ground became a square frequented by villagers. The temple was reinvigorated, and once again became the center of the village.  before & now. Image © Yang Chaoying As the most characteristic human habitation of the local area since ancient times, cave dwellings have since drifted away from the lives of the locals. The design preserved several cave dwellings that served as livestock quarters found at the foot of the temple hill. They restored them with the traditional rammed-earth method, turning it into a shaded rest area for its visitors. With the participation of local workers, the cave renovations helped the villagers re-master this traditional construction skill.  © Jerry Yin The entrance of the Five Dragon Temple was once a muddy slide, difficult to travel through rain and snow. After the renovation, the dangerous slide was replaced with convenient stone steps. These steps were paved on the original path, preserving the plants along the side of the path.  © Yang Chaoying Entering the temple, people would first see a fore-yard with prefabricated concrete with the texture of rammed wall. The cladding, imitating the local soil color, not only is reversible but also looks original, matching well with surrounding environment. A temple miniature carved on the ground and a time line of Chinese architectural history on the wall clearly show the place of the Five Dragon Temple in history.  © Jerry Yin Entering further through a narrow aisle, one would see the main structure of the Five Dragon Temple. From this perspective, the elegant side of the structure is presented to visitors. People would feel a sense of excitement and reverence upon seeing this picturesque view.  © Yang Chaoying The original temple yard was barren and had nothing to see. After the improvements, the scale of the yard was trimmed in order to accentuate the temple by enlarging the temple-yard scale ratio. A series of spaces was designed around the temple to add layers in appreciation of the cultural relics. The effect of such spatial adjustment proved to be without saying. The ground between the main structure and the theater stage was enlarged and paved. The new ground could also help prevent the temple from suffering water erosion, becoming an ideal place for villagers to hold activities. The stage thus would become an important carrier of local intangible heritages.  © Yang Chaoying To the north, behind the stone wall, one would see a new viewing platform overlooking the other national treasures: the city wall ruins of the ancient State of Wei, and the distant Zhongtiao Mountain. With the platform, all the rich historical elements of the surroundings along with the Five Dragons Temple would form an immediate and intimate connection.  Sections After the renovation, visiting the relics would be like reading into the history through views toward the temple. Through a series of visual experience around the temple, visitors can deepen their understanding of this national treasure and trigger further thoughts on history.  © Yang Chaoying Spaces around the main structure were renovated into open-air exhibition halls. The temple now looks like a museum of Chinese architectural history, or a rural architecture classroom. The relic is revived. Its value is manifested. Its charm will since endure.  © Yang Chaoying For architects, the design in the field of cultural relics' protection has always been conservative. At the same time we also opposed radicals ideas but would not give up the exploration of new innovations in the existing environment as well as producing new ideas to conserve the cultural relics in present context. The sustenance of a cultural relic cannot simply rely on a singular village, but also the support of tourism, and special outreach to the public. The project of the environmental improvement of the Five Dragons Temple is a new exploration in cultural relics environmental design. It break the usual conservative approach and uses a spatial sequence of etiquette to accentuate the history, rather than using the sense of history to highlight its "originality". Frankly speaking, the spatial sequence did not derive from the original path of worship, but instead is a route for narrative for the present day. The narration first directs the respect towards the cultural relics, thus awakening the culture and customs of the locals in which are difficult to find nowadays in remote villages. By doing so, it integrates into the present village lives the missing pieces of folk culture that has been passed down since ancient times.  © Yang Chaoying  This posting includes an audio/video/photo media file: Download Now |
| Design Strategy & Research Center / THE_SYSTEM LAB Posted: 02 May 2017 01:00 PM PDT  © Yongkwan Kim
 © Yongkwan Kim From the architect. The characteristics of space where people like Andy Warhol, Jackson Pollock, The Beatles, and Steve Jobs who delivered innovative thinking and message mostly stayed was freedom and expandability. In their youth, unusual but magnificent and cozy places like barn, storage, factory, and garage were the source of inspiration for their creative thinking. This BARN was an excellent functional and emotional space typology where amplifies ventilation, three dimensional expandability, and emotional inspiration through depth in space.  © Yongkwan Kim  Diagram  © Yongkwan Kim Design seeks for esthetics which practicality and sensibility are well balanced. We suggest newly interpreted DESIGN BARN as a typology of lab where handles designs that are endlessly creative and challenging for innovative thinking.  © Yongkwan Kim  Diagram  © Yongkwan Kim We expect a birth and reaction of innovative thoughts for our next generation through people who work, research, and visit this lab.  © Yongkwan Kim  This posting includes an audio/video/photo media file: Download Now |
| Sayanomoto Clinic / Yamazaki Kentaro Design Workshop Posted: 02 May 2017 12:00 PM PDT  © Akihiro Kawauchi
 © Akihiro Kawauchi From the architect. Daigo Town, in Ibaraki Prefecture is built on the edges of abundant woodlands on the surrounding mountains. "Edges of the Forest" is a project to connects the residents, the town and the forest. Using only scraps from local lumber mills, a cafe, bookstore, shared office and event space was created using the "edges" of the local forest.  © Akihiro Kawauchi  Floor Plans  © Akihiro Kawauchi Placemaking at the hands of the local residents brings people together and a space for all was the result.  © Akihiro Kawauchi  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 May 2017 10:00 AM PDT  © Tom Ross
 © Tom Ross From the architect. This family home is nestled amongst the gums, cantilevering dramatically over the sloped site so it feels more like a treehouse than a regular home.  © Tom Ross With views from the site cascading down the hill towards Gardiners Creek Reserve in Melbourne's Blackburn, this modular home crafted by ArchiBlox harmoniously embraces the natural context of the surrounds whilst maximising the sustainable orientation of the site. Separated into two wings to maximise the views, both forms cantilever dramatically over their lower edges sitting above the natural ground level.  Ground Floor Plan The living area wing is elevated and sits proudly over a rocky native garden giving privacy to the living spaces within. Jutting past the adjoining bedroom wing with massive windows wrapping around the leading edge opens up viewing corridors towards the natural bush. Double height voids mimic the soaring nature of the native gums that are prolific in the area, natural timbers enhance the biomimicry and dark tones of other external elements create recessive forms.  © Tom Ross The adjoining master bedroom wing is softened in appearance by the greying blackwood timber lining, becoming more reclusive and blending further into the bush surrounds emulating a warmth and privacy expected of the space within.  © Tom Ross A northern wall runs the length of the living, kitchen and dining area. With high doorways sliding open to blend onto external living spaces annihilating the separation of indoor to outdoor.  © Tom Ross Internally spaces are designed for life, minimising the footprint of the built form to maximise the liveability of the external. Family rooms, study spaces, day beds and circulation have all been thoughtfully planned to ensure that the family and has a future in this space is allowed to thrive.  © Tom Ross The form harmonises sits with the beautiful natural landscaping, the cantilevered home and garden make the most of this sloping site creating stunning outlooks. Informal outdoor spaces wrap around the house including pool and dining area, combines with beautiful natural landscaping.  © Tom Ross In essence, the uniqueness of this site within such a built up urban context was a pleasure to work with. Escaping the bustle of contemporary life and the noise of traffic down alleyways lined with trees and roofed with leaves was a joy. We only had the opportunity to touch this environment briefly but it has left lasting impressions on all of our team members who came into contact with it. It must be a joy to live with daily.  © Tom Ross  This posting includes an audio/video/photo media file: Download Now |
| Raíces Educational Park / Taller Piloto Arquitectos Posted: 02 May 2017 08:00 AM PDT  © Sebastian Giraldo
 © Rolando Ocampo From the architect. The architectural fact as a tool for the construction of the memory and identity of a community is the fundamental principle on which the project is based, having as elements of creation the collective imagination of culture, traditions and history, shaped and shaped by the Same landscape and territory in which they are.  Modelo The Peñol known as the Phoenix of America is a municipality which suffered a forced displacement of its municipal head, which did not break but modified its line in history and was able to resurface.  © Sebastian Giraldo The location of the project is in the urban perimeter that makes it a visual icon of the municipality, strengthening the values and traditions supported in an open and collective public space, a scenario of integration, for the creation of an identity and appropriation of it.  Planta Baja The Project receives the visitor from a square, a lookout space that becomes a witness of the new landscape in which the community lives. Within the project the pedagogical and cultural spaces are their most important value in the vacuum that complements them, free and flexible spaces suitable for the meeting, formed from yards and gardens allowing to extend their activities to the common space, the space of all, Is understood as a tradition learned and that has been lost the use of the patio and hall of the traditional housing of Peñol and this is taken as an articulating space in the project, an area to share.  © Juan Manuel Bernal Arias Landscape as primary material is an integral part of spatial construction, taking light and shadow, air, vegetation and the landscape itself which is intrinsic part of the site, these primary elements in themselves require the absence of the built, the Empty, to be able to inhabit it, gardens, yards and squares in them can be evidenced that passage of the time that marks the rhythms and moments, full and empty. The project is in a natural context of transition between urban and rural, this is built from materials and finishes in sight, where the same structure is the final face, propose textures and finishes honest and austere, which Give the maximum protagonism to the natural atmosphere, it becomes a canvas that receives the exuberance of the vegetation and the colors of the culture.  © Sebastian Giraldo  Corte  © Sebastian Giraldo Constructive clarity and simplicity through the use of concrete walls in varied and concrete blocks reflect a modular and practical system without losing the variety from its free areas that improve the construction quality, reduce execution times and work budgets. The Educational Park becomes a space that recognizes its own landscape, showing it with the capacity and the kindness to receive the activities and experiences, which will allow to create and to consolidate the Memoria and fragmented identity  © Juan Manuel Bernal Arias  This posting includes an audio/video/photo media file: Download Now |
| Kosmos Architects Wins Competition for Landmark Nike Sports Park in Moscow Posted: 02 May 2017 07:20 AM PDT  Nike Air Box / Kosmos Architects. Image Courtesy of Nike Global sportswear brand Nike, in collaboration with Moscow's Strelka Institute, has announced the winners of the competition to design a new Nike sports facility in Gorky Park, located at the heart of Moscow. The competition asked five of Russia's leading young architecture studios – Kosmos Architects, Rhizome, Novoe, Crosby Studios and Xора – to envision a "unique architectural object" that seamless integrates into the surrounding park environment, creating a landmark hub for sport and physical activity for Russia. A key goal for the project was to create an environmentally-friendly structure where athletes from different sports could meet and interact. Core project principles included functionality, sustainability, local identity and flexibility, and integration of main program pieces, including a football korobka (street football court), basketball court, running club hub, indoor training facility and supplemental facilities. Intended to be operational year-round, the design needed also to be adaptable for each of the seasons. The project will be built in 2017. Project proposals were evaluated by an acclaimed international panel including Ippolito Pestellini Laparelli (partner, OMA), Andy Walker (VP creative direction, Nike), Varvara Melnikova (CEO, Strelka Institute; Partner, KB Strelka; CEO, Afisha), Denis Leontiev (CEO, Strelka KB), Marina Lyulchuk (Gorky park director), Anton Belov (director of Garage museum of contemporary art), Kristjan Luha (Nike Russia GM) and Giovanna Carnevali (architects and urbanist, director of competition department at Strelka KB).  Kosmos Architects. Image Courtesy of Nike "In this competition, I was looking for a daring reinterpretation of the relationship between architecture, movement and athleticism, which I believe is at the core of the brand; projects that will inspire people to challenge their built environment and bodies through physical activity," said Ippolito Pestellini Laparelli, OMA partner. "This competition has been interesting as it shows the thinking of the city's emerging architecture studios and at the same time tries to develop new directions on the idea of an urban playground." See all of the finalist projects below, with descriptions from the architects and comments from Pestellini Laparelli. WinnerKosmos Architects  Nike Air Box / Kosmos Architects. Image Courtesy of Nike The project of Nike sports center in Gorky Park, proposed by "Cosmos" bureau, is based on the idea of Nike Air Box. Project is presented as a universal sports "installation" out in the open. General plot plan is divided by a few functional zones, which are football, workout and basketball zones with pavilion being in the very center. Existing retaining walls and the terrain itself are united in a single landscape installation that serves both as grandstands for spectators and a stretch zone.  Nike Air Box / Kosmos Architects. Image Courtesy of Nike Nike Air Box concept represents a rational rectangular shape. Each of building's 4 sides has different functionality and forms a graphical "leaflet". Side A: "a sign" – open - work interactive billboard. This side may fulfill informative goals and be used for video art. Interior concept represents the idea of interactive chameleon with lots of glass and mirror surfaces to visually increase the building and create a feeling of ampleness and openness.  Nike Air Box / Kosmos Architects. Image Courtesy of Nike Comments from Pestellini Laparelli: "This project appeals to me as it's trying to solve how architecture can influence programming of modern sport activities. This construction is also trying to establish itself as a bold signal to the rest of the city. I'm interested by the idea of using architecture as a performative device, serving different purposes and inviting users to physically engage with its presence. This project shows a level of experimentation and the essentiality that embodies the the spirit of Nike." FinalistsCrosby Studios  Crosby Studios. Image Courtesy of Nike The main principle during the design of Nike sports center in Gorky Park was environmental rationality: proportional and comfortable inclusion of different athletes – from football players to sprinters, due to rational division of streams of people. Studio offers to use innovative materials that almost haven't been used in the design of sport facilities, but have already gained some popularity all over the world. The main peculiarity of CROSBY STUDIOS' project is a jogging track that harmonizes the architecture. The running track in the Nike sport complex is coming through the map of Russia and taking to the journey from one city to another. Therefore the entire sports center has an unusual outline, presented by this track and chaotic thin pillars. Drawings on the floor's and track's covering emphasize the locality of the project.  Crosby Studios. Image Courtesy of Nike Studio's architects united the whole number of requests and needs of users in one place and spread it to different flows. Project holds lots of places for recreation and communication between supporters of different sports. The location can be transformed by means of gates, while floor covering and energy-conserving facilities provide innovativeness and technological effectiveness. Design process hasn't affected territory's vegetation and all existing trees were preserved.  Crosby Studios. Image Courtesy of Nike Comments from Pestellini Laparelli: "Crosby studios finds an interesting connection between sport center programs and the park as a logical continuation of Gorky park's running routes. At the same time, I find this project extremely articulated. On the one hand it's interesting to find unexpected connections between programs, on the other it might result in excessive complexity." Novoe  Novoe. Image Courtesy of Nike Architects of "Novoe" bureau located sports facilities on the territory of sports center in such a way to save existing trees and preserve the natural landscape. Cylinder shape of a building is based on the park's environment that assumes the complex to be all-round open. Pavilion is сconstructed on a metal frame, with metal stanchions being the main bearing elements. Football field is located parallel to park's alleyway and is rounded by just a few trees. Basketball court is located in such a way not to cause any harm to trees on the territory of the complex. Grandstands have been located along the entire retaining wall and were integrated to the whole architecture of the sports center.  Novoe. Image Courtesy of Nike The territory is portrayed as the single playing ground and has a single rubber covering. Herewith every functional zone, whether it's a football field or basketball court, has its own color marker, and those colors blend with each other on the principle of gradient both in common zones and in interspaces. All trees on the territory of sports center are shaped in separate landscaped elements of geometrical shape, which visually facilitates the shape of the pavilion itself.  Novoe. Image Courtesy of Nike Comments from Pestellini Laparelli: "Pavilion of Novoe bureau looks interesting and the circular structure has everything in it. It is located in a logical and simple place, interacting with the rest of playgrounds. In this case the approach might have been too schematic." Khora  Khora. Image Courtesy of Nike "XOPA" architecture bureau focused on three concepts – Moscow, sport and Nike. Architects decided to use the simplest and most natural substances of Moscow. At the same time they used subtle metal structure that alludes both to classical architecture and to the modernism of West coast including Oregon - birthplace of Nike.  Khora. Image Courtesy of Nike The pavilion is composed of two simple rectangular shapes: the first comprises the multi-purpose hall, while another embraces the entrance hall, dressing rooms, and other servant spaces. The hall has floor-to-ceiling windows along the east wall. The piazzetta at the east wall facing the woods is envisaged as a secluded space for open-air training.  Khora. Image Courtesy of Nike Pavement types used on site are Nike Grind of different color: lanes, football court, basketball court, workout court. Gravel coating and paving of light-shaded rocks has been used as well. Spectator stands are constructed from steel sections, seats are finished in timber.  Khora. Image Courtesy of Nike Comments from Pestellini Laparelli: "Creating a temple of sport is a very ambitious task. The historical refrence is very seductive and correct, but the goal is to develop a modern interpretation of the temple idea. The scheme is not rigorous enough to respond to that ambition. This project is technically very efficient, but ideologically building a temple is not as easy. I do appreciate their ambition to question what architecture can be. In terms of sport – I see quality and easy accessibility of all playgrounds." Rhizome  Rhizome. Image Courtesy of Nike Architect bureau «RHIZOME» represents the sports center in Gorky Park as the place that will revive sport's challenge spirit and the ability to inspire with renewed vigor. sport as the form of social practice, was formed just a century ago having become the powerful tool to form the New Human in the young Soviet country. The choice of pavilion's location on the territory has been held under two aspects: the necessity of visual separation from the structure on the southern border and the desire to construct the main pavilion in such a way that the main entrance faced the major flow of park's visitors.  Rhizome. Image Courtesy of Nike Pavilion's main area is a T-shaped hall with additional reception and cloakroom zones. Hall has the direct exit outside on the south, while cloakrooms – through the gallery. Foreside's main material is a roll silicone on metal structure that shows perfect properties for outside use. Building has a smooth illumination due to the dull diffusing surface, thus resembling both panoramic glazing and blank walls. Back side of the foreside is randomly dotted with LED indicators: dots and running letters, thus making the entire foreside "come to life" in dark hours, with vague lights and captions all over its perimeter. In the whole, the projected placement of facilities allows to embed all necessary courts, preserve the projected place and structure of the pavilion and to organize zones of different privacy levels – from outdoor areas to private zones for individual training sessions.  Rhizome. Image Courtesy of Nike Comments from Pestellini Laparelli: "I did find the Rhizome project well organized. It's interesting to see how they related the different sport activities. It has an unusual shape and selection of materials, but it misses the opportunity to programmatically reinvent the the notion of the urban playground."  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| Stanford Apple Store / Bohlin Cywinksi Jackson Posted: 02 May 2017 06:00 AM PDT  © Hufton + Crow
 © Hufton + Crow From the architect. Apple has always demonstrated its immense appreciation for design, whether in the hands of the customer or in the manner through which they present their products in store. Located uniquely within the Palo Alto Shopping Center, this pavilion respects the expectations of the brand while introducing new and evolutionary ways to reinterpret 13 years of tradition.  © Hufton + Crow It doesn't take long to recognize the brand—the transparent glass extending prominently from floor to ceiling, the soft stainless steel shimmering below the canopy upon approach, the warm stone anchoring the pavilion within its context, and the apple glowing white in anticipation of entry.  © Roy Zipstein At the heart of the customer experience is the product, and for that reason, the space is designed around their display. However, in this location the customer experience begins before they even walk through the door. The store's incredible transparency blends the outdoor public space with the indoor retail space, encouraging passersby to flow into and through the wooden tables and then back out to the surrounding plaza.  © Roy Zipstein With 180 lineal feet of storefront glass and three entrances, rarely has this brand's store been so visually recognizable and physically accessible. With the structural support of slender glass fins along the facade, the front room of the store is column-free, enabling customers to browse and explore, uninhibitedly, the variety of products that line the wooden tables.  Exploded axonometric As one moves from the front room to the back, the atmosphere changes to a feeling of enclosure. The ceiling gives way to a tremendous glass roof, sunlight plays along the floor, and the sounds of customer activity quiets down. Dedicated to service, training and accessory retail display, the sense of privacy supports the company's ambition for a place of gathering and learning.  © Roy Zipstein Delicate stainless steel beams support the gently arching glass roof, and the stone walls stand visibly in harmony with the sky above. A careful balance of tint, dot-patterned frit, and high performance coating allows modulated daylight to fill the space while maintaining comfort year-round.  © Hufton + Crow  This posting includes an audio/video/photo media file: Download Now |
| Maria & José House / Sergio Sampaio Arquitetura Posted: 02 May 2017 04:00 AM PDT  © Leonardo Finotti
 © Leonardo Finotti From the architect. The lot has 3.200m2, with 60 meters of front, with a difference of 8.00 m from one side to the other. Due to customers' demands, an elderly couple with 4 children, the building would have to be eminently single storey and with all the accessibility standards observed (ramp, elevator, accessibility bars in bathrooms, etc). The main functions of the house - social, leisure and intimate - are distributed in a single prismatic volume that fits subtly to the terrain, without touching directly on the ground, through metallic pillars.  © André Scarpa The service and garage sectors are located below the main volume occupying the emptiness coming from the natural unevenness of the terrain. At the same time as the façades of the volume presents itself as a "closed box" to its surroundings, inside there is a large patio that makes the visual integration of the interiors of the house and allows the entrance of a lot of light to the internal environments. The large pool in reinforced concrete extends into the main volume of the house as a strategy to integrate leisure activities into the social life of the house.  © André Scarpa  Courtesy of Sergio Sampaio Arquitetura  © Leonardo Finotti The project employs industrialized "dry" construction systems - CLT panels and metal structure - resulting in a cleaner and more streamlined plot, rainwater reservoirs were implanted through cisterns and water mirror for reuse for irrigation of the gardens. To thermal comfort strategies were used, such as: cross ventilation systems, suspension of the house from the ground to avoid the contact between the volume and the humidity of the ground; special laminated glass with heat refraction; insolation control by brise soleil; balconies and sliding panels; partitions and roofs with thermo- Acoustics and heating of the hydraulic installations by solar panels on the roof.  © Leonardo Finotti  Section perspective  © Leonardo Finotti  This posting includes an audio/video/photo media file: Download Now |
| Iranian Case Study: Can We Build For The Future Without Forgetting About The Past? Posted: 02 May 2017 02:30 AM PDT  © <a href='https://www.flickr.com/photos/novecentino/512652036/'>Flickr user novecentino</a> licensed under <a href="https://creativecommons.org/licenses/by-sa/2.0/">CC BY-SA 2.0</a> Taking a taxi from Tehran Imam Khomeini International Airport into the city, one cannot help but look at the seemingly random distribution of buildings along the road; an array of mismatched concrete blocks, worlds away from the images of Sheik Lotfollah Mosque that typically adorn the covers of Iran travel guides. "My observations about architecture in Iran are like that of many other countries that have changed in terms of architectural characteristics; Iran has changed too," says Tehran-based architect, Reza Karfar. "Now we are in a time where everything is mass produced and we are just using and using, but not making memories with anything. That sense of belonging will, of course, go away. You see a 50 or 60, or 200-year-old house that just gets demolished and replaced by a 4 or 5-story building, and in 5 years they will demolish that 4 to 5-story building too." Not to say that Iran should be an exhibit for tourists, only consisting of beautiful tiled buildings, but this fear of memories fading in disappearing public spaces is one that, despite the numerous historical sites preserved around the country, is noticeable in Iran's big cities. And while the subject is particularly pertinent in Iran, as Karfar points out this phenomenon is not unique to just one country. As a result, Iran might offer something of a case study for other countries around the world.  © Ariana Zilliacus The Zayanderud, around which the city of Isfahan arose, is no longer the river bringing life into the area, as it was before the Zayanderud Dam was built. Memories of people meeting by the river and dipping their toes into the water have not been passed on to the younger generation as they have before; to them, the Zayanderud is just another dry threshold in the city's fabric. A changing world is impossible to avoid, and new places can always become associated with new fond memories. However, the problem lies in balancing what has been, what is and what might follow, to avoid a potentially massive loss of knowledge. As Karfar says, "It's very important now to understand what we want to pass to the next generation."  © <a href='https://www.flickr.com/photos/ninara/9177922490/'>Flickr user ninara</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> The rate at which building is happening around the world today unprecedented. As pointed out by Karfar, this applies to Iran as well, where buildings rise and fall without being given the time to establish memories and a sense of belonging. Architecture is, among other things, a process that goes beyond the construction of the physical building. It is what Karfar calls "a journey," and his "understanding of traditional architecture is... that the journey was learning from the master, experimenting with this thoughts and techniques, and helping the owner of a house to create a sense of belonging to the place he was making." Unfortunately, our sped up lifestyles are reflected in our ways of approaching architecture: with impatience. With "fast food, fast transportation" and fast decisions being made, "architecture wants to become faster too," says Karfar. Some may argue that this is a necessary adaptation to our contemporary living habits, however the ways in which "fast architecture" are being done has come at the cost of buildings' integrity. "Now we have false ceilings, which are lying to us, yet we have them as elements in our homes. When we lay in our beds and look up, we see it. We are cheating ourselves, and not dealing with reality." This unwillingness to deal with "true" or "honest" architecture has consequences that go deeper than just aesthetic results; it alienates people from their surroundings by removing the history and the process of a building within a community. This sped-up architectural process, paired with our mass production and intake of information, has got us "faced with and relating to so many different factors and definitions, that it's just a bit confusing." As a result of this confusion, the values that ought to be passed on to coming generations - who will responsible for continuing Iran's architectural legacy - have been forgotten, as emphasized by Karfar: "I feel that there is a lot of potential, and we have a lot of work to do. Iran is famous for its architecture, and we need to be really careful about that."  © Ariana Zilliacus The work that is to be done includes finding some answers to, for example, the question of false versus honest construction. There is something stirring in the world of Iranian architecture, but Karfar's point is that we don't know what that problem is exactly: "In a time with loads of information and lots of definitions, we must redefine some things, and the thing that is really important to redefine now is the 'architectural problem' [itself]; architecture as a phenomenon of the 21st Century. We are entering a new era in architecture - I really believe that - and if we don't think carefully about it, we will be surprised again." In other words, the main dilemma regarding the architectural problem is that the problem itself hasn't been identified, and without doing that, we cannot begin to understand the solution. What is needed is for people to start asking some new questions. "We have a generation of people who think that we just need to do what everybody else does. At the same time, if the new generation understands the conditions and availability of things around themselves, and are able to raise some questions as new problems of architecture, something can really come up," encourages Karfar. One place to start could be to ask the question: what is defined as an Iranian architect? An issue Karfar was faced with when traveling outside of Iran is that being born Iranian, and studying as an architect, did not automatically make him an Iranian architect. That title comes with a deeper understanding of something more intangible: "I was introduced by a friend as an 'Iranian architect.' Maybe I am a so-called 'architect' because I studied architecture, but I am not an Iranian architect yet. It became a phenomenon or problem for me to understand: who is an Iranian architect, and what is Iranian architecture?" An understanding of culture, history, the people one is working with and the overarching values of Iran are what he began to research, in order to bring him closer to becoming what he believes constitutes an Iranian architect. Taking values that stem from faraway cultures is an important stage in the evolution of our increasingly international world, but it can turn out to be more confusing than enlightening for a country that might not know what architectural problems it is facing, nor how deep they dive into Iran's values as a society.  © Ariana Zilliacus In a field such as ours, where practical and theoretical knowledge are of equal importance when solving a problem and realizing a project, talking and asking questions aren't enough to make a substantial difference. An idea can often feel like a fully realized thought, especially when discussed and debated with others, but before acting upon those ideas one has only taken the first step. Karfar's criticism is that this jarring relationship between discussing and acting is directed towards architectural education, because "it's all about the ego. What unfortunately is taught in our schools is that we want to decide; we want to show our creativity; we want to say what we think. What will happen if we tuck away our ego and then do architecture?"  © <a href='https://www.flickr.com/photos/xiquinho/8019268840/'>Flickr user xiquinho</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> One enormous source of knowledge when it comes to design principles and values is the community of Iranian craftsmen who possess the practical skills behind the theories. As in many counties around the world, however, increased urbanization and especially migration towards Iran's capital city has left such craftsmen forgotten in smaller villages littered around the country. Although easier said than done, Karfar proposes a method of exposing the diversity of values around Iran through "decentralizing the city and finding alternative architecture by being present in a variety of different conditions, different problems and different regions of Iran." In other words, architects should not accumulate themselves within the walls of Tehran if they are interested in understanding what is going on in the other regions of the vast country. This method of understanding the "architectural problem" through personal accounts of Iran's history and culture offers a richness that cannot be undervalued. As in the case of the Zayanderud, the importance of public space for interactions between people in Isfahan was not fully understood until it was gone. "It is true that both of us, the government and the general public, were not aware of this richness. A society will die if it forgets its own values, and of course one of our values is our urban heritage," says Karfar. This is where the new generation of Iranians have an advantage over the ones still to come; Iran's youth still have living memories of what Iran's public spaces were like and can be again. Whether or not it is their responsibility to continue and preserve this knowledge is up to debate, but this question is also a part of understanding the problem and its solutions. Karfar himself sees it as his contribution, "to see if [he] can align [past values], if [he] can merge them with today's needs."  © Ariana Zilliacus Evaluating one's values as an architect within the context of a society can be difficult and confusing for many reasons, such as unidentified problems, or the undefined parameters of one's professional responsibilities. At a lecture in Copenhagen, Hiroshi Sambuichi said that "architecture is a letter to the future." So what will our children see as their own heritage, when they walk through our future spaces? What do we wish for them to see as our contributions? Iran and Iranian architects are not alone in asking these questions, nor should they be in exploring solutions. Karfar's imparting message for Iran is this: "Even if we understand the conditions, if we understand the problems, and we understand our values, if we don't act nothing will happen." Perhaps the greater message for emerging architects is to take great care in considering and questioning their responsibilities towards the past, present and future when setting out to start a project. Surely the letters to our future will be just as beautiful and treasured, as the ones from our past.  This posting includes an audio/video/photo media file: Download Now |
| Schoolgarden “De Buitenkans” / RO&AD Architecten Posted: 02 May 2017 02:00 AM PDT  © Katja Effting
 © Katja Effting From the architect. A neighbourhood family had a redundant piece of land, and offered that to "Het Da Vinci College" , a school for animal care and gardening, with pupils who require additional support. They didn't know where this would end, because there was a plot, lots of enthusiasm, involvement, from the school, neighbourhood and city council, but neither the skills, nor the money to realise the project.  Scketch That's where RO&AD architects stepped in. With help of the Province of Noord-Brabant, Visavis Landscape designers, who gave a small budget, they designed a plan which made it possible to be made by the teachers, the pupils, and the neighbourhood themselves. It is a 6 meters wide and 100 meters long timber structure, with relatively easy to make trusses, which are held together by nail plates. All rooms, like the classroom, animal room, greenhouses etc are placed in a row, without any room and money devouring things like halls or hallways.  © Katja Effting When Rini, a teacher at the school, saw this, he became so enthusiastic, that he offered to make the building himself. And that is what happened. He postponed his retirement for 2 years, and together with neighbours, students and lots of other people he started to work. Under the guidance of a contractor and the architects, he built the school, and the garden in 1 1⁄2 year's time. And it works! Neighbours are taking down their fences to get access to the school garden.  © Katja Effting They take care of the plants and the animals during the holidays, and the students finally have a place where they can be proud of to work on.  © Katja Effting  This posting includes an audio/video/photo media file: Download Now |
| Experience Cities From Above With Crystal Clear Drone Videos Posted: 02 May 2017 01:00 AM PDT  With rapid advancements in technology and crystal clear imagery, drones have allowed us to experience our cities and landscapes from unimaginable vantage points and perspectives. In its series of videos, YouTube channel Mingomatic uses drones to capture the sights and scenes of predominantly American cities and various locations from above, offering glimpses of skylines, oceans, highways and terrains (and seals!). Check out the 10 videos below for some spectacular views, and find Mingomatic's full selection, here. Catalina Island News via: Mingomatic.
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| EMBT Unveils Proposal to Revitalize Seven of Milan's Disused Railway Yards Posted: 01 May 2017 11:00 PM PDT  Courtesy of EMBT EMBT has released its proposal for the Scali Milano study project, which invited five architectural teams—EMBT, Stefano Boeri, MAD architects, and Cino Zucchi Architetti—to reimagine Milan's disused railway yards. A citywide public consultation to define priorities for seven scali—train hubs—Scali Milano was initiated by FS Sistemi Urbani, in collaboration with the Municipality of Milan and the Lombardy Region, and aims to transform over one million square meters of brownfield into improved urban areas.  Courtesy of EMBT  Courtesy of EMBT  Courtesy of EMBT Entitled Miracoli a Milano, EMBT's proposal "focuses on the importance of water as a means to connect the city with its population, nature, and history." Each of the seven railway districts is given its own character—"some of the scali will be dedicated to cultural programming, design, and fashion, while others are zoned for young companies and start-ups."  Courtesy of EMBT Informed by elements from Naples, Paris, Hamburg, and Barcelona, the proposal seeks to address some of the main upcoming concepts in Milan, like urban agriculture, participatory and circular economy, soft mobility, and sustainability.  Courtesy of EMBT
The seven new districts developed for the proposal include Scalo Farini, Scalo Porta Genova, Scalo San Cristoforo, and Scalo gredo-Breda.  Courtesy of EMBT  Courtesy of EMBT  Courtesy of EMBT Scalo Farini will be a "Water Hub," featuring a large water body in the center of the district, surrounded by a linear park that will become "the second most extended green surface in the city." This area will additionally include a Railway Museum, concert space, public swimming pool, Wellness Center, and residential buildings.  Courtesy of EMBT Scalo Porta Genova will be the project's "Creativity Hub," and will feature dedicated spaces for emerging entrepreneurs and a market, both of which will highlight design and fashion. This district will also be a center for nightlife, with "pubs, romantic walking paths, and lights reflected in the canal water."  Courtesy of EMBT Scalo San Cristoforo will be the "Agriculture Hub," where a large botanical garden will serve educational purposes so that visitors can learn about the agricultural roots of the Lombard territories.  Courtesy of EMBT  Courtesy of EMBT  Courtesy of EMBT Scalo Greco-Breda will be the "Light Hub," featuring a system of pedestrian pathways, green platforms, and playgrounds that will become installations with lighting shows at nighttime.  Courtesy of EMBT Learn more about the project here, or about the alternate MAD proposal here.
News via: EMBT.
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