Arch Daily |
- House in the Woods / Alma-nac
- Aperture House / Stu/D/O
- Riverside Villa / Atelier Boronski
- Canada Post Commemorates Canada’s 150th Anniversary with Habitat 67 Stamp
- Metaform and The Space Factory Win Competition for World Expo Luxembourg Pavilion
- House on the Top / Mutar Estudio
- Recycled Shipping Containers as Backyard Swimming Pools
- #donotsettle Gives a Critical Tour of Perkins+Will’s Shanghai Natural History Museum
- Cabinet Gallery / Trevor Horne Architects
- Industrialized Ceramic Elements That Create a Variety of Urban Furnishings
- Dome of Visions 3.0 / Atelier Kristoffer Tejlgaard
| Posted: 07 May 2017 08:00 PM PDT  © Jack Hobhouse
 © Jack Hobhouse From the architect. Located in an area of outstanding natural beauty, within the South Downs National Park, the new house sits on the site of a bungalow that had been in the family for over sixty years. It was important to our client that something of this building's simple shape would be retained while creating a contemporary home. Together with our client, we wanted to make the most of the views out to the landscaped garden and the South Downs beyond and a connection with the outdoors was essential. This is largely achieved through extensive glazed openings as well as the direct access to the gardens from the living and dining spaces. The 240 square metre building's discrete form takes inspiration from the previous bungalow appearing on approach as a single storey dual pitched building, hunkered down behind a planted bank. The communal or social spaces of the house (living room, kitchen, dining room) are located to the southern end of the building. The living room spans the full width of the building and punctuates the western elevation with full height glazing. A large fireplace creates a natural divide between the living room and the kitchen/dining area, with elevated ceilings that follow the dual pitch of the roof. The bedroom accommodation is all located to the more private northern end of the building where the symmetrical roof becomes asymmetrical, housing a first floor level for the master bedroom and studio/guest bedroom. The changing roof form reduces the perceived scale of the building as a whole.  © Jack Hobhouse Our brief was for a five-bedroom home that could be as comfortably inhabited when it was under full occupancy (it sleeps up to 10) as it would be during single occupancy by our client. Concealed full height sliding partitions to create additional bedrooms were one of the ways we achieved this type of adaptability. The more significant step in keeping the house from feeling too big was the decision to enable our client to effectively separate off the ground floor guest bedrooms, transforming the house from a 5 bed house to a 1 bed house with studio and study. And finally heating is zoned allowing for areas of the house to be controlled independently depending on whether these are in full use or not.  © Jack Hobhouse  Ground floor plan  © Jack Hobhouse Constructed using SIPs (Structurally Insulated Panels) technology, panelised construction far out-performs timber frame methods both in terms of thermal efficiency and air tightness of the completed structure. The panels are storey-height walls of rigid insulation lined each side with timber skins that perform structurally to carry the building loads. The superstructure of the building was delivered to site on two lorries and erected over a period of 10 days creating a weather tight shell within which to work. Once the superstructure was erected, doors and windows were installed into factory prepared openings in the panels. The completed construction, after all wall/floor junctions are sealed, is super air tight as well as being super thermally insulated.  © Jack Hobhouse  Exploded SIPS construction   This posting includes an audio/video/photo media file: Download Now |
| Posted: 07 May 2017 07:00 PM PDT  Courtesy of Stu/D/O
 Courtesy of Stu/D/O From the architect. A house for a photographer and a landscape designer; Aperture House frames its surrounding natures and embrace the natural world within its serene envelope. Yet, in stillness of this delicately composed environment, Aperture House captures the turnings of time through the interplay of lights and shadows, as daylight cascade through the architectural facade and openings.  Diagram The 4 story tall regular rectangular mass was conscientiously carved out, allowing the natural landscape to seeps into its continuous enclosure and create a pleasant ambience for private spaces. The largest void reveals an expansive vertical space, as it internally and externally becomes the main focal point the house.  Courtesy of Stu/D/O  2nd Floor plan  Courtesy of Stu/D/O The continuity of the external envelope shapes and completes the regular geometric architectural form, whilst shielding the main living area, which situates itself within this spacious void, from the occasionally unforgiving Bangkok sun. Scattered throughout the external enclosure, are carefully composed openings of the architectural facades.  Courtesy of Stu/D/O The large openings displays full-framed view of the surrounding vistas for the main functions of the house. Whilst the expansive facade openings flood rooms with daylight, the small tapered openings composed main corridors, filtering natural light patterns to continuously transform and enhance the domestic spaces.  Courtesy of Stu/D/O From the exterior, the 0.60x0.60 m square punctures are uniformly equal and elegantly dispersed and as the changing daylight travels through the gradually tapered voids into the interior, the dynamic shifting of lights and shadows create interest from the inside and out.  Courtesy of Stu/D/O  This posting includes an audio/video/photo media file: Download Now |
| Riverside Villa / Atelier Boronski Posted: 07 May 2017 01:00 PM PDT  Courtesy of Atelier Boronski
 Courtesy of Atelier Boronski From the architect. On a typically small site wedged between the road and the river this house in Kyoto is a kind of European canal-house in Japan. It is close to the city center but in a quiet street near cafes and restaurants, bakeries and a chocolatier. The museum district (with temples and shrines) is a short walk, and there are many cherry trees lining these streets.  Courtesy of Atelier Boronski The well-traveled clients have stayed in various accommodation in many different parts of the world. This is an uncomplicated and robust second house that is easy to live in and easy to look after. After several permutations the clients decided on a very restrained and rectilinear composition.  Courtesy of Atelier Boronski The first floor is mostly the guest area, the second floor has the main bedroom area and the third floor has the Living / Dining area in one large open volume with glazing at both ends. The glazed roof-hatch opens to the roof garden above…From the street there is a private courtyard behind the broad timber gates, landscaped with young and old trees. The fireproof timber siding has been stained individually to create an elegant but understated street facade, contrasted with the galvanized steel work.  Section A-A The interior is stripped back and low-maintenance, masculine. The ceilings are exposed steel form-work, the floors are exposed concrete as are the benches and basins. The stairs and handrails are raw steel. Standard elements of the 'domestic cosmetic' are absent. The bathrooms are glazed, and the North facade (facing the river) is all glass - privacy is not so sacred in this house. The art works are painted straight on the walls (and windows) by local artists commissioned directly by the client. They loved the idea of 21 st century cave drawings….This was a kind of turn-key project for the foreign clients, with the architects handling all the various details such as helping to select and buy the site, setting up accounts for utilities, buying white ware and furniture etc etc. (The clients actually said it was easier for them to build in Japan than in California...)  Courtesy of Atelier Boronski  This posting includes an audio/video/photo media file: Download Now |
| Canada Post Commemorates Canada’s 150th Anniversary with Habitat 67 Stamp Posted: 07 May 2017 09:00 AM PDT  via Canada 150 - Expo 67 (CNW Group/Canada Post) In honor of the 50th anniversary of the 1967 International and Universal Exposition or Expo 67 in Quebec, Canada Post, and renowned architect Moshe Safdie have revealed a celebratory stamp depicting Safdie's iconic Habitat 67, which was unveiled as the Canadian Pavilion for the world fair. The housing complex, commissioned by the Canadian government and the city of Montreal, now holds the status as a National Heritage Site and its commemorative stamp is the first of ten to be issued by Canada Post in celebration of the country's 150th anniversary. Each stamp highlights a key moment in Canada's history since its centennial in 1967.  © Jade Doskow Originally conceived as Safdie's masters thesis project, Habitat 67 was quick to develop a reputation as an architectural and modernist sensation. Only 29 at the time, the Israeli-Canadian architect has since been greatly influential throughout Canada, with projects including National Gallery of Canada in Ottawa, Toronto's Lester B. Pearson International Airport, and the Montreal Museum of Fine Arts. The unveiling of the stamp also coincides with Safdie Architects' Habitat '67 vers l'avenir / The Shape of Things to Come, an exhibition of images, drawings, models and renderings from the archives that highlight the history and legacy of Habitat 67, and its impact on Safdie's international work. More information about the exhibition can be found here. News via: Safdie Architects.
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| Metaform and The Space Factory Win Competition for World Expo Luxembourg Pavilion Posted: 07 May 2017 07:00 AM PDT  © Metaform - Vyonyx Metaform architects and The Space Factory scenographers have won the competition for the Luxembourg Pavilion at the World Expo 2020 in Dubai, which is centered on the theme of "opportunity." Inspired by a Möbius strip, in which a twisted and folded ribbon has no beginning and no end, the winning pavilion proposal is modeled around the concept of "cradle to cradle" and the circular economy.  © Metaform With a blurred distinction between the interior and exterior, the pavilion features a ramp entrance that leads into a central, multifunctional space on the first floor.  © Metaform
 © Metaform A single face of the building "ribbon" comprised the floor, wall, and ceiling, creating a "multilayered scenography canvas."
 © Metaform The ground floor of the pavilion features a VIP suite, administration unit, storage space, and restrooms. The second, and highest, floor is "dedicated to the space-themed exhibition." To return to the ground floor from here, visitors can utilize stairs, elevators, or an unconventional slide through a picturesque green patio.  © Metaform - Vyonyx
 © Metaform Learn more about the project here. News via: v2com.  This posting includes an audio/video/photo media file: Download Now |
| House on the Top / Mutar Estudio Posted: 07 May 2017 06:00 AM PDT  © Leo Basoalto
 © Leo Basoalto From the architect. Curanipe is a small coastal town in the middle part of Chile; territory of subsistence agriculture, artisanal fishing and summer tourism. In this place two couples owned a site far away from the sea, but compensated with large views towards the ravine of Chovellén River. The site is on the highest point of the ravine where the slope descends gently to the sea and abruptly to the river.  © Leo Basoalto Because of its geographic condition the place lacks of a horizontal ground, reason why the architecture tries to supply that lack building a podium that look towards the ravine.  © Leo Basoalto  Ground floor plan  © Leo Basoalto This house should give occasional shelter to the both couples who would use it together or separated. Given this condition of occupation, the program divides itself in three pavilions where each couple would be "owner" of one of this ones, meanwhile the third one – at center – would contain the common areas. The three pavilions locate parallel to each other but displaced in order to accommodate at the diagonal slope of the site.  © Leo Basoalto  Sections 1 and 3  © Leo Basoalto The distant landscape is captured by interior through large openings that frame it – like big paintings - extending the interior limits beyond its borders.  © Leo Basoalto  This posting includes an audio/video/photo media file: Download Now |
| Recycled Shipping Containers as Backyard Swimming Pools Posted: 07 May 2017 05:00 AM PDT  Courtesy of Modpool From high rises to housing to kiosks and disaster relief, shipping containers have become a more common architectural tool over the past few years. Now, Canada-based company Modpool has unveiled yet another use for shipping containers—backyard swimming pools and hot tubs. Designed to be modular and simple to install, the pools are shipped with all necessary equipment—including a UV water cleaning system built in so that only light ground prep and power and gas access are necessary before the spaces are ready to use. With the ability to separate hot tub and pool spaces in one container through a removable divider, Modpool is versatile in its use and can increase water temperature by 86 degrees in one hour. Furthermore, the pools, which feature windows, can be installed above ground, partially in the ground with retaining walls, or fully in-ground.  Courtesy of Modpool Pool temperature, jets, and lighting can be controlled by an app on a smartphone. An 8-by-20-foot pool is priced at $26,900, and the pools are also available in an 8' by 40' model. Learn more about Modpool here.  This posting includes an audio/video/photo media file: Download Now |
| #donotsettle Gives a Critical Tour of Perkins+Will’s Shanghai Natural History Museum Posted: 07 May 2017 02:30 AM PDT In #donotsettle's latest escapade, architect Kris Provoost scrutinizes Perkins+Will's Shanghai Natural History Museum. The boyishly charming and ever-inquisitive vlogger presents a unique POV tour of the unusual building situated in the middle of the Jing'an Sculpture Park. Over a soundtrack of slick house music, Provoost offers up tidbits that cannot be gleaned from a photo. As he approaches the structure, he points out topographical aspects, the relationship of the structure to its context, and various construction details. The rapid-fire architectural observations are often punctuated by brief cross-sectional sketches that augment the experiential commentary.  © James and Connor Steinkamp Provoost is immediately taken aback by the exteriors' clever multifaceted facade, quickly confirming the photogenic museum as highly "instagrammable." But while the stunning subterranean structure pulls natural light into the gallery through a curving atrium, the building's interior proves to be comparatively underwhelming and uncomfortably noisy. Provoost recaps the outing by lamenting over the bureaucratic barriers of the space: "The main architectural ideas are this roof and this pit here. And both of them cannot be entered as a visitor. That's so China. The architecture never comes to its full potential here."
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| Cabinet Gallery / Trevor Horne Architects Posted: 07 May 2017 02:00 AM PDT  © Tim Crocker
 © Tim Crocker From the architect. Charles Asprey, who financed the development, and the directors of Cabinet Gallery, Martin McGeown and Andrew Wheatley, had been looking for nearly a decade to find a permanent gallery space. They eventually found a site in the former Vauxhall Pleasure Gardens a venue for music, dining and art established in 1729. The site was the irregular footprint of the demolished Lord Clyde Pub, next to a former service road. Working with friends of Vauxhall Pleasure Gardens and Lambeth Council Trevor Horne Architects were able to consolidate the site and enlarge the public park by incorporating the road.  Section / Elevation The practice, which has previously worked with such galleries as Victoria Miro and PEER, worked collaboratively with Charles Asprey and the gallery directors, plus a number of their artists to develop the design.  © Tim Crocker  Floor Plan  © Tim Crocker The brief was for a bespoke gallery that would reflect the iconoclastic and international reputation of Cabinet. The result is a five storey brick building marking an entrance to the park with a twelve-sided gallery that determined the overall form of the building – exhibition and office space on the lower levels, a fully glazed events space on top with flats between, the flats helping finance the project  © Tim Crocker Trevor Horne Architects worked closely with the gallery directors and the artists with whom they work to incorporate their work into three elements of the building. Marc Camille Chaimowicz proposed the large oak window design, Lucy McKenzie produced the hand painted trompe l'oeil ceramic cladding to the balconies, and John Knight conceived the narrow 'slot' aperture between the park and gallery, based on the historic doors that artists would have cut into walls or floors through which to pass canvases.  © Tim Crocker Materials include Petersen Kolumba bricks, oak window frames, exposed concrete and basalt flooring. The concrete voided slab structure allows for a column free gallery space and gives greater flexibility for the upper floors layout whilst reducing embodied CO2.  © Tim Crocker  This posting includes an audio/video/photo media file: Download Now |
| Industrialized Ceramic Elements That Create a Variety of Urban Furnishings Posted: 07 May 2017 01:00 AM PDT  © Javier de Paz García In 1855 the German machinery manufacturer Carl Schlickeysen issued the patent he had recently created, the "Universal Patent Brickmaking machine", the first machine created to manufacture bricks by extrusión as an industrial process. SCHLICKEYSEN is a modular furniture system based on two types of modular metal supports and standard-sized ceramic curved vaults. All kinds of settings can be configured from the combination of these three elements; picnic tables, continuous benches, grandstands, topographies, and many more typologies can be achieved by just stacking the metal supports and using the ceramic vaults as a horizontal supporting surface. Description from the Architects. SCHLICKEYSEN is the first prototype of BOVEDILLA SERIES research, initiated by ENORME Studio and aimed to promote the use of industrialized ceramic pieces applied to furniture.  © Javier de Paz García  © Javier de Paz García The first prototype has been fabricated for Centro Cultural Conde Duque in Madrid, firstly to be used as temporary furniture arrangement to provide space for activities at Gastrofestival 2017 and secondly to be included as a part of the Centre’s permanent furniture.  © Javier de Paz García The series commits to the use of local materials and handcrafted work. Ceramic pieces used to produce the furniture are part of the stock owned by Grupo Díaz Redondo enterprise dedicated to the production of industrialized ceramics. Metal parts are fabricated at metalwork workshop CRRSA, both located a few kilometers away from Madrid.  Diagramas  Diagramas  Diagramas  Diagramas  Diagramas  Diagramas Design: ENORME Studio  This posting includes an audio/video/photo media file: Download Now |
| Dome of Visions 3.0 / Atelier Kristoffer Tejlgaard Posted: 06 May 2017 10:00 PM PDT  © Atelier Kristoffer Tejlgaard, Helle Arensbak and Jonathan Bisagni
 © Atelier Kristoffer Tejlgaard, Helle Arensbak and Jonathan Bisagni From the architect. Dome of Visions 3.0 is the third dome in a series of experiments. DoV is an experiment that aims to create knowledge about how it affects our architecture and our well-being to build inside a greenhouse and work with a passive and solar heated space as a building envelope that generates a third climate, as the majority of the area we use.  © Atelier Kristoffer Tejlgaard, Helle Arensbak and Jonathan Bisagni A space that is neither inside nor outside and therefore provides a better space for a meeting between man and nature.  © Atelier Kristoffer Tejlgaard, Helle Arensbak and Jonathan Bisagni Uncertainty as a premise promotes a sensitivity – a sensitivity for the choices we make and the consequences here of, for the space we create and the world we live in and live with. If we do something different, things will be different – hence, what we do and how we do it is important.  Isometric All construction is temporary; it is only a matter of perspective. The fact that Dome of Visions is 'more' temporary than many other buildings provides a stronger invitation to think about the circuits the materials are a part of and to contemplate how the building is constructed in order to be disassembled again as well as the ways in which the constituent- elements can enter the world in new ways. However, the thoughts are equally relevant and required in all other construction.  © Atelier Kristoffer Tejlgaard, Helle Arensbak and Jonathan Bisagni When we choose wood as the all bearing material in DOV 3.0 it is, based on our current knowledge, the sustainable choice. It also applies when we choose to let the knowledge of the material producers be co decision makers in designing the building's elements. The same applies when we choose to let the material producers' knowledge be part of the design of the building's elements. It is the interaction that allows us to utilize the materials in the best manner; to optimize the material consumption in the design and reduce the amount of waste by respecting the material dimensions in the design process.  Diagram of domes  © Atelier Kristoffer Tejlgaard, Helle Arensbak and Jonathan Bisagni When the dome is clad with polycarbonate in rhombus shapes, instead of hexagons or triangles, waste is reduced from the sheets and at the overlapping joints. When the curved CNC-milled beams can be assembled in a simple laser cut steel node, the amount of steel is reduced and the production is optimized in a way that makes it easier to assemble and requires less energy. When energy is spent on carrying out a thorough digital modeling of the building, it helps to provide a more clear construction site and assembly process. When it is decided to let robots and machines do what they know best, it releases time for the craftsmen to focus on what they are passionate about. When the choices we make continually create simpler and easier structures as well as lowering the resource pressures on the globe, we know that we have made the right choices and that we have hit the right degree of sensitivity towards the spaces we create.  © Atelier Kristoffer Tejlgaard, Helle Arensbak and Jonathan Bisagni The meeting with the world is pivotal to a modern culture center such as DOV 3.0. We have chosen to meet the world with a responsibility and desire that this responsibility is embraced and put into dialogue. As a cultural center, DOV3.0 will form a framework where people with ease can meet in an open and safe space where ideas and thoughts can be exchanged and unfolded through trust. We want to make room for events where people can meet to evolve and where conversations can give weight to our understanding of the world.  © Atelier Kristoffer Tejlgaard, Helle Arensbak and Jonathan Bisagni We can see that the Dome of Vision 3.0 serves as a framework where space has been created for a wide variety of events, lectures, debates, conversations, concerts and exhibitions that can open eyes, ears, thoughts and senses. Consequently, we feel confident that with DOV 3.0, we have created a place where people will meet to grow wiser through receptiveness and stronger through diversity; where knowledge of today has been utilized and continue to evolve in the meeting between people willing to reflect new ideas and solutions and start drawing the future - that our current knowledge has manifested itself in a snapshot pointing forward. For that we are both grateful and proud.  This posting includes an audio/video/photo media file: Download Now |
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