Arch Daily |
- Well Street / IF_DO
- Spotlight: Toyo Ito
- Ministry of Development and Housing Offices / Cruz y Ortiz Arquitectos
- Rudy Ricciotti Wins Colored Concrete Works Award 2017
- Klagshamn’s Equestrian Center / FOJAB arkitekter
- DAIKO / Keitaro Muto Architects
- Retreat in the Sahyadris / Khosla Associates
- NUBO / PAL Design
- WAF Reveals Theme for 2017 World Architecture Festival
- In Residence: Inside John Lautner's Quintessential California Modern, the Lautner Harpel House
- Beach Haven Residence / Specht Architects
- Morphosis' Bloomberg Center at Cornell Tech Aims for Net Zero and LEED Platinum Certification
- Bruksgården / Petra Gipp Arkitektur
- OMA Designs Carved Mixed-Use Building for Boston Seaport
- Henry Moore Studios & Gardens / Hugh Broughton Architects
- Spurred by Privatization, Beirut's Working Class is Colonizing the City's Periphery
- Itamabuca House / Gui Mattos
- Zaha Hadid Celebrated in Latest Google Doodle
- The Residential, Monumental, Gregarious and Bucolic Scales of Lucio Costa's Brasilia
| Posted: 31 May 2017 10:00 PM PDT  © Mariell Lind Hansen
 © Mariell Lind Hansen From the architect. This project is the refurbishment and extension at ground floor level of a Grade II listed cottage within a conservation area in Bury St Edmunds. The extension is resolutely contemporary, using a simple palette of oak, brick and frameless glazing in an elegant pitched roof arrangement which is sympathetic to the original house. The Bury Society commented that the project "shows how a well-designed contemporary extension can complement an existing older building".  Section A-A' The ground floor of the house was extensively re-planned, with the rooms at the front of the house lightly refurbished. To the rear of the plan a new 8-metre long pitched roof single storey extension creates an open plan kitchen/diner with direct access and views onto the garden. The room is flooded with natural light by 4 roof lights and incorporates an oak floor, which gives visual clarity to accentuate the form of the extension. The shift in levels between the interior floor level and the garden has been harnessed to create an unusual and intimate relationship with the garden.  © Mariell Lind Hansen A trapezoidal door made of kiln dried tongue and groove English oak leads to a shallow flight of three brick steps up to garden level. The seat-height cill of the large, frameless, corner-glazed window is level with the ground outside, creating a seamless visual continuity between inside and out. As with the main living space, which employs a limited palette of materials (natural slate, lots of lead, english oak, lime render, soft red bricks), the kitchen and bathrooms demonstrate how a high quality finish can be achieved with a limited budget through the careful assembly of low cost utilitarian materials (white tiles, cork floor, and white formica faced ply).  © Mariell Lind Hansen  This posting includes an audio/video/photo media file: Download Now |
| Posted: 31 May 2017 09:00 PM PDT  Serpentine Gallery Pavilion 2002 / Toyo Ito + Cecil Balmond + Arup. Image © Sylvain Deleu As one of the leading architects of Japan's increasingly highly-regarded architecture culture, 2013 Pritzker Laureate Toyo Ito (born June 1, 1941) has defined his career by combining elements of minimalism with an embrace of technology, in a way that merges both traditional and contemporary elements of Japanese culture.  © Yoshiaki Tsutsui Born in what is now Seoul when Korea was under Japanese rule, Ito's family moved to Japan itself when he was just two years old; he would eventually attend the University of Tokyo, where his prize-winning undergraduate thesis secured him a place in the office of Kiyonori Kikutake, a founder of Metabolism and one of the leading Japanese architects at the time.  Yatsushiro Municipal Museum. Image © Tomio Ohashi  Sendai Mediatheque. Image © Nacasa & Partners Inc Toyo Ito founded his own practice, then known as Urban Robot or "Urbot" in 1971, changing its name to Toyo Ito & Associates in 1979. In the early years of his practice, many of his most recognized projects were private homes, including the home he designed for his sister, White U, and his own home the Silver Hut. Speaking about his work in the 1980s, he once said that he "was seeking to erase conventional meaning from his works through minimalist tactics, developing lightness in architecture that resembles air and wind."  Tama Art University Library. Image © Iwan Baan International recognition began to come in the 1990s, and with it perhaps Ito's most important commission: designed between 1995 and 2000, and completed in 2001, the Sendai Mediatheque remains one of Ito's most notable works, with its most recognizable feature the 13 high-tech latticed columns which not only support the building (including in major earthquakes) but also provide clear routes for the many cables required to service the building's program.  Taichung Metropolitan Opera House. Image © Lucas K. Doolan In addition to the 2013 Pritzker Prize, Ito has also received the 2006 Royal Institute of British Architects' Royal Gold Medal and the 2010 22nd Praemium Imperiale.  Tower of Winds. Image © Tomio Ohashi Use the thumbnails below to view all of Ito's work on ArchDaily, and check out further coverage via the links below those: 2013 Pritzker Prize Ceremony, Toyo Ito Toyo Ito named 2010 Praemium Imperiale Laureate Toyo Ito Awarded 2014 Thomas Jefferson Medal in Architecture The Life and Work of Toyo Ito, 2013 Pritzker Laureate Photography: Toyo Ito by Iwan Baan Video: A documentary on Toyo Ito's Sendai Mediatheque How Toyo Ito is Embarking on a "New Career Epoch" With Small-Scale Community Architecture How Architects Realized the Curving, Twisted, Slanted Walls in Toyo Ito's Mexican Museum AD Interviews: The Japan Pavilion at the Venice Biennale / Toyo Ito, Akihisa Hirata, Sou Fujimoto Video: Thom Mayne Talks With Toyo Ito The Berlage Archive: Toyo Ito (1999) Lecture: What Was Metabolism? Reflections on the Life of Kiyonori Kikutake / Toyo Ito Video: Gifu Media Cosmos by Toyo Ito  This posting includes an audio/video/photo media file: Download Now |
| Ministry of Development and Housing Offices / Cruz y Ortiz Arquitectos Posted: 31 May 2017 08:00 PM PDT  Courtesy of Cruz y Ortiz Arquitectos
 Courtesy of Cruz y Ortiz Arquitectos From the architect. The project aims to provide a certain uniqueness and public character to the future headquarters of two government ministries, without lessening the required functional efficiency of a standard office building.  Sketch. Image Courtesy of Cruz y Ortiz Arquitectos  Model  Ground Floor Plan A homogeneous open hall of 12.40 metres, without intermediate columns, ideal for an administrative use, gives shape to the building bodies of eight intertwined floors, creating a singular figure.  Courtesy of Cruz y Ortiz Arquitectos The building, which extends out to the perimeter of the site, defines the alignments of the streets without prejudicing neighbouring buildings.  Courtesy of Cruz y Ortiz Arquitectos The long perimeter lighting constitutes a continuous and modulated facade that, when folded, creates open and wooded spaces with masses of citrus trees. Above the eight floors a pitched roof provides space for the installations. The changing profile and volumes should give the building a uniqueness appropriate for its public nature.  Courtesy of Cruz y Ortiz Arquitectos The 12.40 m width of the open hall allows for the inclusion of both modular offices and offices open to one side and the other of a central circulation. Each floor can be flexibly organized. The fixed cores are positioned at the intersection of the elements, thereby absorbing the geometrical irregularities at the crossings of the different alignments. At these points are placed the cores of vertical circulation, the toilets and a meeting room.  Offices Floor Plan Type Circulations will be continuous and focused on the work areas. The layout of offices and open work areas will be arranged flexibly depending on the needs of each service or of each momentin the life of the building.  Courtesy of Cruz y Ortiz Arquitectos  This posting includes an audio/video/photo media file: Download Now |
| Rudy Ricciotti Wins Colored Concrete Works Award 2017 Posted: 31 May 2017 08:00 PM PDT  LANXESS presented its third Colored Concrete Works Award in Berlin to a distinguished architect who has achieved something unique in the use of colored concrete. This year's award goes to Rudy Ricciotti for his "Musée des Civilisations de l'Europe et de la Méditerranée" (MuCEM) project in Marseille in the south of France. The building is constructed of a total of 1,100 cubic meters of concrete – in the form of prefabricated concrete slabs – and 250 cubic meters of in-situ concrete. The dark gray color tone was provided by the LANXESS pigments Bayferrox 330 and Bayferrox 318.  Composition of meaning, function, and color From all the entries, the jury selected the "Musée des Civilisations de l'Europe et de la Méditerranée" (MuCEM) as the winner. The museum is one of the most spectacular in France and among the 50 most visited in the world. The aspects of function and color equally influenced the jury's decision. The airy, mesh-like concrete structure enveloping the MuCEM is open to the Provençal sun, creating unique light effects. Situated on the outer tip of the Old Port, in the cultural and historical center of Marseille, the MuCEM with its dark color is an attractive contrast to the beige of the historical Fort Saint Jean that guards the entrance to the port. In this historically significant location, Ricciotti's building draws its own identity from the textbook squareness of the plot and the horizontal profile. Ricciotti had all the prefabricated slabs and 384 panels produced and prepared near the construction site so as to minimize environmental impact by keeping distances short and to enhance the identification of local residents with the museum by employing local craftsmen and specialists. The international jury of experts that selected the "Musée des Civilisations de l'Europe et de la Méditerranée" as this year's winning project included: Professor Ralf Niebergall, Vice President of the German National Chamber of Architects, Ulrike Kunkel, Editor-in-Chief of "Deutsche Bauzeitung," Professor Tobias Walliser, founder of the Laboratory for Visionary Architecture, Bernd Heuer, President of the agenda4 Association, a network of companies and universities in the building and real estate industry, and LANXESS pigment experts Thomas Pfeiffer and Dr. Carsten Rosenhahn. Airy lightness and solid permanence Ricciotti deliberately chose black concrete as the building material for this project. Made of ultra-high-strength concrete, the building shows how airy lightness and solid permanence can be united in technological brilliance. It was essential to Ricciotti that his distinctive building does not compete with the fort but still stands out from its surroundings. At the same time, he wanted to make sure that its appearance and surface texture remain flawless in the long term, despite weather influences such as the moist, salty ocean air. In a location like this, a facade coating would never have lasted long enough. The architect, therefore, decided to integrally color the concrete with Bayferrox 330 and Bayferrox 318 pigments from LANXESS. As a result of their excellent light stability and weather resistance, these color pigments are especially suited to the life span expected of concrete of at least 100 years.  Colored Concrete Works – practical examples of color design for modern buildings Through the Colored Concrete Works initiative, LANXESS wants to inspire architects with ideas for working with colored concrete. The brand new MuCEM case study celebrating the work of CCW Award winner Rudy Ricciotti is now online available at: www.colored-concrete-works.com The "Musée des Civilisations de l'Europe et de la Méditerranée" at the Port of Marseille. The building is constructed of a total of 1,100 cubic meters of concrete – in the form of prefabricated concrete slabs – and 250 cubic meters of in-situ concrete. The dark-gray color tone of the airy mesh-like concrete structure was provided by the LANXESS pigments Bayferrox 330 and Bayferrox 318. Photo: Agence Rudi Ricciotti.  Specialty chemicals company LANXESS presented its third Colored Concrete Works Award on May 17, 2017, in Berlin to a distinguished architect who has achieved something unique in the use of colored concrete. This year's award goes to Rudy Ricciotti for his "Musée des Civilisations de l'Europe et de la Méditerranée" (MuCEM) project in Marseille, France. Tilman Reichert, an architect on the MuCEM project who works at Rudy Ricciotti Architects, accepted the award at the specialty chemical company's Berlin offices: (from left or right: Jörg Hellwig, head of the Inorganic Pigments business unit at LANXESS, Tilman Reichert, Rudy Ricciotti Architects, Keynote Speaker Chris Kühn, Member of the German Parliament (MdB).  This posting includes an audio/video/photo media file: Download Now |
| Klagshamn’s Equestrian Center / FOJAB arkitekter Posted: 31 May 2017 07:00 PM PDT  © Felix Gerlach
 © Felix Gerlach From the architect. Klagshamn's Point is located about 10 km south of Malmö and extends into the strait of Öresund. To the south, there are long sandy beaches that are excellent for horseback riding. Until recently, Klagshamn's Riding Club was located in a former concrete plant. When Malmö City planned for a new equestrian center, it was natural to build in the same place as the concrete plant with its proximity to sandy beaches and ridges along the water. The city also chose to make the ruins of the demolished concrete plant into a park.  © Felix Gerlach The siting of the buildings runs parallel to the ruins of the concrete factory. The two main buildings, stable, and riding center have distinctive, connected roof surfaces that bridge the different functions of the facility. The buildings have been positioned so that a variety of spaces are created in and around the ruins, the entrance courtyard, farm, and riding track. The houses also provide nice views of the nearby Öresund. Paddocks are located east of the ruin park.  Sections The character of the buildings is that of open shells with clearly demarcated spaces (buildings within buildings), depending on temperature and functional requirements. Working with horses means that movements in and out of the buildings must feel natural, without a sharp border between indoors and outdoors.  © Felix Gerlach Wall and ceiling materials are simple and directly linked to function and building physics. The concrete elements closest to the ground in the plinth and the wall are resistant to machines, horses, snow, rain, wind, etc. The wall and ceiling are lattice constructions in the form of columns and beams that clearly reflect the building's supporting structure. Perforated sheet metal in the facade gives several concurrent effects - natural ventilation, daylight, views in and out, and sound absorption. In addition, it is cost-effective. In particular, perforated sheet metal ensures that the moisture balance is guaranteed by natural air exchange. Robust building materials such as concrete, glue-laminated wood, and brick are resistant to the tough environment in which the facility is located and will age in a natural and beautiful way. Bricks from former buildings on the site were recycled in parts of the stable and the riding center. Besides the gravel surfaces, the ground / floor coverings are also made of wooden bricks, concrete and concrete paving stones, both inside and outside, which further enhance the blurred meeting of indoors and outdoors.  © Felix Gerlach  This posting includes an audio/video/photo media file: Download Now |
| DAIKO / Keitaro Muto Architects Posted: 31 May 2017 03:00 PM PDT  © APERTOZERO
 © APERTOZERO From the architect. It is three stories residence near the central Nagoya city. Requirements of client are 4 parking spaces (2 of them are with roof) and high ceiling living room on second floor with ample terrace.  Floor Plans Parking roof is trussed from three stories building, consequently there can be used at terrace.  © APERTOZERO By the garage has been become the space does not exist any columns, there has been made possible, which is 2 parking spaces with roof and a broad approach to entrance, at site of 7 meters' width.  © APERTOZERO There have been made 2 effects by truss becoming side wall at terrace. First has cut the view from neighbor and frontal road, another has cut out the cityscape and sky. Interior has been divided the square in quarters by put the wall and it has been made anomalous split-level house, in consideration for a number of rooms and a requirement is felt family's coming  © APERTOZERO  Section  © APERTOZERO Along of the wall has been made huge openings, rooms have been got various relation to each other.  © APERTOZERO Traffic line as stairs and walls opening at each rooms has been planned to feel like exterior open space in usual life, because sunlight have been reached each rooms through big opening and double floor height at living.  © APERTOZERO By the wall with the shape of 田 have been existed white color side and gray color side, the sunlight from big opening could have gradation more strongly and it could have been felt walking up spiral split-level house.  Section It has been existed variety spaces in the given site and has become wide open house which is reached the sunlight everywhere.  © APERTOZERO  This posting includes an audio/video/photo media file: Download Now |
| Retreat in the Sahyadris / Khosla Associates Posted: 31 May 2017 01:00 PM PDT  © Shamanth Patil J.
 © Shamanth Patil J. From the architect. Our picturesque site is located in the Western Ghats perched on the backwaters of a lake and surrounded by the Sahyadri mountain ranges.  © Shamanth Patil J. Although they owned two acres of land, our client's requirements were modest. They asked us to build a 2100 sft single level pavilion as a retreat to escape the frenetic pace of Mumbai life and to reinvigorate the senses.  © Shamanth Patil J. We envisioned a single level pavilion spatially subdivided onto two primary zones; one for engagement with the view during the day and the other as a quiet retreat at night. The living spaces are extroverted and permeable allowing nature to penetrate its envelope; the private spaces are introverted and protected.  © Shamanth Patil J. One of the challenges of the pavilion was to admit the right quality of natural light not only from the periphery but also into its internal volumes. To this end, we created a series of dramatic skylights to illuminate the internal spaces evenly. The angular shapes of the skylights were inspired by the looming profiles of the mountain peaks to the east and west of the house. Each of the skylights admits a soft quality of north light into the Living, kitchen, foyer, and bathrooms  © Shamanth Patil J. The architecture is built from the readily available local black basalt stone which was found on the site just 5 to 6 feet below ground. The stone is of volcanic origin and available in abundance across the Deccan Plateau. We used the stone as a random dry pack cladding along the entire extent of the exterior walls and on a few internal accent walls.  Floor Plan The contoured land allowed us to work with the natural topography of the site. Rather than creating a split-level house to negotiate the slope, we created a retaining wall enclosure and a ramp alongside it to arrive at the entrance 3'-6" below.  © Shamanth Patil J. We had to exercise a great deal of restraint in the furniture and accessories, choosing to customize each piece to be in harmony with the architectural intent. Accessories were all sourced from Maharashtra, brass and copper vessels from Nasik and Bidriware from Aurangabad.  Diagram The primary objective of the house was to absorb the natural environment,to open itself up to the view.But in doing so we had to remain cognizantof the physical presence and the environmental impact of our architecture on the hill.  © Shamanth Patil J.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 31 May 2017 12:00 PM PDT  © Michelle Young, Amy Piddington
 © Michelle Young, Amy Piddington From the architect. NUBO – as its meaning cloud suggests – is hard to pin down with its unlimited potential as a stimulating and inclusive play centre to encourage learning, exploration, boundless imagination. Children are respected yet always stimulated, while parents are encouraged to engage and interact with them through and through.  © Michelle Young, Amy Piddington Its core spaces satiate kids' curiosity and emphasises the concept of 'Pure Play' to make and create, and with facilities carefully designed and flexibly suited for children aged two to eight. Suited for children in their various stages of learning to safely and explore the entire space, the overall design takes a minimalist approach to remove unnecessary furniture and equipment - with just enough to invent their own games.  © Michelle Young, Amy Piddington In turn, NUBO boasts a variety of 'Pure Play' spaces and activities including an extensive children's library; a building and rooms full of Big Blue Block, MagFormers, Lego Wedo 2.0 and Kaleido Gears; a café where children can make a range of healthy dishes; and a zone for active play completed with opportunities to slide, climb and hide.  © Michelle Young, Amy Piddington Equally important is to invite parents to spend quality family time together – and with plenty of interactions, too. Adults are also invited to relax and even learn alongside their kids with child-like curiosity. 'Pure Play', after all, means something for everyone in this well-designed space to enjoy.  © Michelle Young, Amy Piddington  Floor Plan  © Michelle Young, Amy Piddington  This posting includes an audio/video/photo media file: Download Now |
| WAF Reveals Theme for 2017 World Architecture Festival Posted: 31 May 2017 11:00 AM PDT  Courtesy of World Architecture Festival UPDATE: You still have time to perfect and submit your award-winning entries! The final entry deadline for the World Architecture Festival Awards is this Friday 2 June at Midnight (BST). Held November 15-17 at the Arena Berlin in Germany, the festival will focus on the topic of performance in architecture. This will include several new additions to the tour program, including a visit to Hans Scharoun's revolutionary Berlin Philharmonie; Gerhard Spangenberg's Radialsystem V, a former pump station transformed into a venue for contemporary dance and music; and Frank Gehry's recently-completed Pierre Boulez Concert Hall. Commenting on the selection of the 2017, WAF Programme Director Paul Finch said: "This year we will examine the multiple aspects of performance that architecture has to embrace: aesthetic, technical, economic and psychological. We will be discussing buildings designed for performance – for example theatres and concert halls – but also the role that buildings play in the life and spectacle of the city itself." Returning to Franz Ahrens' Arena Berlin, this year's WAF looks to build on a successful 2016 edition that saw the highest attendance numbers ever, with more than 2,300 architects and designers over three days. Entrants for the WAF Awards programme can still take advantage of an Early Bird rate for two more days, until April 27. The final deadline for entries this year is May 18. Practices submitting three or more projects will be able to enjoy a 15% discount on entry fees. In honor of the selected theme, the WAF has rounded up a selection of top performance venues that have been nominated for a WAF Award in its first 10 years: Heydar Aliyev Center / Zaha Hadid Architects  Heydar Aliyev Center / Zaha Hadid Architects; Shortlisted - Culture, 2013. Image Courtesy of World Architecture Festival Guangzhou Opera House / Zaha Hadid Architects  Guangzhou Opera House / Zaha Hadid Architects; Shortlisted - Culture, 2011. Image Courtesy of World Architecture Festival Winspear Opera House / Foster + Partners  Winspear Opera House / Foster + Partners; Shortlisted - Culture, 2010. Image Courtesy of World Architecture Festival Oslo Opera House / Snøhetta  Oslo Opera House / Snøhetta; Winner - Culture, 2008. Image Courtesy of World Architecture Festival CKK "Jordanki" / Menis Arquitectos  CKK "Jordanki" / Menis Arquitectos; Winner - Future Projects, 2010; Shortlisted - Culture, 2016. Image Courtesy of World Architecture Festival Grand Canal Theatre / Studio Daniel Libeskind  Grand Canal Theatre / Studio Daniel Libeskind; Shortlisted - Culture, 2010. Image Courtesy of World Architecture Festival La Llotja Theatre and Congress Center / Mecanoo  La Llotja Theatre and Congress Center / Mecanoo; Shortlisted - Culture, 2010. Image Courtesy of World Architecture Festival Melbourne Recital Centre and Theatre / ARM  Melbourne Recital Centre and Theatre / ARM; Shortlisted - Culture, 2009. Image Courtesy of World Architecture Festival Experimental Media and Performing Arts Center / Grimshaw  Experimental Media and Performing Arts Center / Grimshaw; Shortlisted - Culture, 2009. Image Courtesy of World Architecture Festival Merce Cunningham Dance Company Stage Design / Miralles Tagliabue EMBT  Merce Cunningham Dance Company Stage Design / Miralles Tagliabue EMBT; Shortlisted - Culture, 2009. Image Courtesy of World Architecture Festival Zénith / Foster + Partners  Zénith / Foster + Partners; Shortlisted - Culture, 2009. Image Courtesy of World Architecture Festival Cultural Centre / Eva Jiricna Architects Ltd  Cultural Centre / Eva Jiricna Architects Ltd; Entrant - Culture, 2011. Image Courtesy of World Architecture Festival UK Centre for Carnival Arts / Ash Sakula Architects  UK Centre for Carnival Arts / Ash Sakula Architects; Entrant - Culture, 2009. Image Courtesy of World Architecture Festival Grande Halle / Agence Moatti et Rivière  Grande Halle / Agence Moatti et Rivière; Entrant - Culture, 2009. Image Courtesy of World Architecture Festival Acoustic Shells / Flanagan Lawrence  Acoustic Shells / Flanagan Lawrence; Shortlisted - Culture, 2009. Image Courtesy of World Architecture Festival The Bamboo Playhouse / Eleena Jamil Architect  The Bamboo Playhouse / Eleena Jamil Architect; Shortlisted - Culture, 2014. Image Courtesy of World Architecture Festival Learn more about the 2017 World Architecture Festival, here.
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| In Residence: Inside John Lautner's Quintessential California Modern, the Lautner Harpel House Posted: 31 May 2017 09:25 AM PDT
In the latest video from their In Residence series, NOWNESS takes a look inside the recently restored Lautner Harpel House, built in 1956 by Los Angeles architect and Frank Lloyd Wright protege John Lautner. After purchasing the house in 2006, design restorer and Resurrection Vintage co-founder Mark Haddawy sought to restore the house to its original conception – a process that required the removal of several ill-conceived additions, including a second story. Check out the video to see inside the house, and how its individual moments come together to create a signature example of California Modernism. News via NOWNESS.
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| Beach Haven Residence / Specht Architects Posted: 31 May 2017 08:00 AM PDT  © Taggart Sorensen
 © Taggart Sorensen From the architect. This is a weekend residence for a family of five. The lot is on the beachfront, but is very small, tucked away from the street, and had many code-regulated square-footage and height restrictions. The challenge was to create something open and light-filled that takes advantage of its beautiful setting, yet uses every available square inch of buildable area allowed by law.  © Taggart Sorensen The house was initially designed in 2012, and construction had just begun when Hurricane Sandy swept through the area causing major damage and beach erosion. Shortly thereafter, FEMA changed all the regulations regarding beachfront houses, which required a "start from scratch" redesign of the whole house. The clients, obviously, were not happy, but understanding, and we reworked the design in accordance with the new regulations. It is the only modern house in Beach Haven that was designed in accordance with these new rules, and a model for how a house can be resistant to winds and storm surge, yet still remain very aesthetically appealing.  Diagrams Many (if not most) houses built to current regulations on the coast are basically traditional styles, elevated on pilings to the required flood level. Even when the pilings are covered with panels, the proportions often are not pleasing, and they appear awkward or ad-hoc. Our intent with the Beach Haven house was to embrace the fact that the house had to be elevated on what are basically telephone poles driven into the sand, and use these as major design components, to be expressed and highlighted.  © Taggart Sorensen We drove a series of pilings at the perimeter of the house that remain exposed, and form linear colonnades that integrate with the overall form of the house.  Second and Third Floor Plan The form of the house was developed by extruding the entire buildable footprint to the maximum height allowable, and sculpturally carving the resultant mass. We also used a combination of eastern white cedar and western red cedar as the exterior cladding, stained and bleached to create different shades and textures, to emphsasize the sculptural quality of the house.  © Taggart Sorensen This is first and foremost a beach house. It not only responds to the client's needs, but to the extreme environmental conditions of the Jersey Shore. Techniques that are often used in boat building were used in the construction of the house. The roof is all fiberglass, and the exterior components all stainless steel. Windows are of the highest hurricane-rating available. Cedar has proven over time to be extremely durable in a beach environment.  © Taggart Sorensen The house packs a lot of program into its relatively small envelope, while maintaining an interior that is bright and open. Clerestory windows or narrow slot windows are used on the sides facing adjacent houses, and full-height glass looks to the sea. Private rooms are ship-like and functional, This is a four bedroom, three bath house with a guest room / office, lounge, elevated hot tub area, and a large living / dining / kitchen space all within a compact 2500 square feet.  © Taggart Sorensen  This posting includes an audio/video/photo media file: Download Now |
| Morphosis' Bloomberg Center at Cornell Tech Aims for Net Zero and LEED Platinum Certification Posted: 31 May 2017 07:15 AM PDT  Phase 1 of the Cornell Tech campus will open in September. Image © Max Touhey With construction nearing completion ahead of its September opening date, the first building at the new Cornell Tech campus on New York City's Roosevelt Island has been dubbed "one of the most environmentally-friendly buildings in the world" by the university, as they revealed their aspirations for the building to reach Net Zero and LEED Platinum status. Designed by Morphosis, The Bloomberg Center (named for Emma and Georgina Bloomberg, daughters of former New York mayor Michael Bloomberg) will employ a range of strategies including solar power; geothermal ground source heat pumps; a dynamic energy-efficient facade which balances transparency and opaqueness to maximize building insulation; and an array of smart building technologies that monitor lighting and plug load use, among other metrics.  Facade in-progres. Image © Morphosis "We are thrilled to work with Cornell Tech on a design reflecting their commitment to pioneering new standards in building performance," said Ung-Joo Scott Lee, Principal Architect at Morphosis and Project Principal and Manager of The Bloomberg Center. "The Bloomberg Center's design makes groundbreaking strides in sustainability while simultaneously fostering interdisciplinary communication among students, faculty, administrators and visitors and complementing and invigorating the surrounding Roosevelt Island community." The design of the Bloomberg Center will utilize a variety of passive and active energy-saving techniques to achieve a Net Zero rating. The list of strategies released by the university includes:
 Geothermal field after drilling wells. Image © Cornell Tech  via http://futurecornelltechcampus.tumblr.com/. ImageThe Bridge, designed by WEISS/MANFREDI Next door to The Bloomberg Center, The Bridge (designed by WEISS/MANFREDI) will feature a large solar array to provide a critical renewable energy source for the campus, while the world's first high-rise Passive House, designed by Handel Architects, will provide residential accommodation. "The Bridge is designed to encourage the random interactions and deep collaborations that solve problems, build partnerships and accelerate new products to market. But it also serves another important mission: contributing to one of the most sustainable campuses in the world. Designed by Weiss/Manfredi, the building's solar canopy creates a unique architectural feature that is not just beautiful but functional. Marion Weiss and Michael Manfredi have created a sustainable and efficient building that also has incredible sweeping views of New York City for our tenants to enjoy," said MaryAnne Gilmartin, President and CEO of Forest City New York. "Sustainability is typically achieved building by building. Here at The Bloomberg Center and The Bridge, we're taking a more collaborative approach that includes several buildings to achieve a more comprehensive vision of sustainability," said Marion Weiss and Michael Manfredi, designers of The Bridge. Phase 1 of the Cornell Tech Campus, including The Bloomberg Center, The Bridge and the Passive House, will open in September. Construction on the campus will take place in three phases, the last of which is estimated to open in 2043.  Facade mock-up. Image © Morphosis "Cornell Tech will have some of the most environmentally-friendly and energy-efficient buildings in the world," said Dan Huttenlocher, Dean of Cornell Tech. "The Bloomberg Center is our main academic hub on campus and, inspired by the Bloomberg model, we're reinforcing our commitment to innovation and sustainability by pushing the boundaries of current energy efficiency practices and setting a new standard for building in New York." For an in-depth look at the campus' progress and environmental strategies, check out this article from the New York Times, here. News via Cornell Tech.
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| Bruksgården / Petra Gipp Arkitektur Posted: 31 May 2017 06:00 AM PDT  © Åke E :son Lindman
 © Åke E :son Lindman From the architect. Bruksgården is located in an area that is classified as being of national interest, where the main building and its wings are considered to be of the highest cultural value.  © Åke E :son Lindman With the extensive conversion and addition, great care and consideration has been given to this historically valuable environment, both in terms of the building itself and its surroundings – the town, the square, and the garden. The physical structure of the city block has been returned to its original form, making it possible for the public nature of Gruvtorget (Mining Square) to partially survive, even though most of the former public buildings have been converted into housing. The relationship with the surrounding town is important – this is where the architecture is allowed to create the conditions for the integration of new additions, and in do doing so, it enriches the contemporary urban landscape, while paying respect to all layers of time - past, present and future.  © Åke E :son Lindman The extension, an interpretation of the longhouse, has been deliberately designed for a contemporary impression. The addition is a coherent sculptural structure in brick and cast concrete, with obvious impressed and protruding sections. The project is based on tactile materials that are possible to work with in a sculptural way.  © Åke E :son Lindman  Model  © Åke E :son Lindman A central aspect of the project is the art, which integrates the inner and outer sequence of the rooms, floorplan and organisation in a conscious way. The art helps to understand the connection between the rooms and how they take hold of one other, between the older and contemporary layers of time. The art can, like another layer, define place, room, connection, as well as program and organisation in a way that corresponds to the human act of laying claim to a place, or inhabiting a space.  © Åke E :son Lindman  Section BB  © Åke E :son Lindman  This posting includes an audio/video/photo media file: Download Now |
| OMA Designs Carved Mixed-Use Building for Boston Seaport Posted: 31 May 2017 04:50 AM PDT  Rendering of 88 Seaport Boulevard, a mixed-use retail and office project designed by OMA and developed by WS Development in Boston's Seaport neighborhood. Image © OMA. Rendering by Bloom OMA New York has revealed renderings for it latest project, a 490,000-square-foot mixed-used retail and office development located at 88 Seaport Boulevard in the emerging Boston Seaport neighborhood. Being developed by Massachusetts-based property developer WS Development, the structure adds to a growing collection of quality architecture commissioned for the district, including projects by James Corner Field Operations, Sasaki, and NADAAA. "We are committed to bringing world-class architecture to Boston's Seaport – architecture that will stand the test of time. Together with the brilliant team at OMA, we will create a unique urban environment that advances Boston's innovation economy and celebrates great urban design," said Yanni Tsipis, Senior Vice President of Seaport at WS Development. 88 Seaport will consist of a 18-story structure featuring a faceted glass facade bisected by a large angled slice that will allow natural light to penetrate into interior spaces and will open up the building towards the Fan Pier Green and the water. In total, the building will offer nearly 425,000 square feet of office space, approximately 60,000 square feet of retail (located on the first two floors), and 5,000 square feet designated for civic/cultural use. The project is being led by OMA Partner Shohei Shigematsu, who has helmed OMA's New York office and work in the Americas since 2006. "It's exciting to engage with the innovation migration to the Seaport District, and work with WS Development on a building positioned to be the nexus between historic Fort Point and the emerging waterfront developments," said Shigematsu. "Our design for 88 Seaport slices the building into two volumes, creating distinct responses for each urban scale of old and new, while also accommodating diverse office typologies for diverse industries with demands for traditional and alternative floorplates. The slice also generates an opportunity to draw in the district's public domains, linking the waterfront and Fan Pier Green with a continuous landscape." 88 Seaport is expected to begin construction in 2018, with completion slated for 2020. News via OMA.
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| Henry Moore Studios & Gardens / Hugh Broughton Architects Posted: 31 May 2017 04:00 AM PDT  © Hufton+Crow
 © Hufton+Crow From the architect. The Henry Moore Foundation was founded by the artist and his family in 1977 to encourage public appreciation of the visual arts. The Foundation supports innovative sculpture projects through a global grants programme, runs exhibitions and research worldwide, and conserves the legacy of Moore himself.  Site Plan Despite careful preservation of landscape and buildings at Moore's home at Perry Green in Hertfordshire, the Foundation's activities had outgrown their facilities, which were in need of an overhaul. In 2007 the Foundation commissioned Hugh Broughton Architects to prepare a masterplan to create an improved visitor centre, an enhanced archive and new sculpture stores.  © Hufton+Crow The brief demanded robust, economic and intelligent solutions with high levels of energy efficiency achieved with buildings which would be sympathetically integrated into the sensitive landscape of Moore's estate. The first building, completed in September 2011, was a 1300 square metre blackened oak-clad store for sculptures in bronze, wood and plaster, tapestries and works on paper.  © Hufton+Crow The second, larger phase of the masterplan comprises the redevelopment of the visitor centre and offices, and creation of the archive. The brief for this second phase was based on the principle of re-use and extension of existing buildings, thereby minimising impact on the estate and preserving the environment, which the Moores cherished.  Isometric Ground Floor The existing offices, drawing and print stores had been housed in Danetree House since 1977. With expansion of the Foundation's activities the offices had become too cramped. Visitor facilities were also inadequate. The shop and ticket sales were housed in the ground floor of a small terraced house overlooking the green and separated from Moore's sculpture garden by a road. Food was sold from a small kiosk with visitors only able to sit at outdoor tables. There were no dedicated spaces for schools, and toilets were in poor condition.  © Hufton+Crow Danetree House has been fully re-purposed to accommodate environmentally controlled art stores, an art-handling workshop and offices for curators and administrators. The building has been extended to accommodate visitor facilities within a grey stained sweet chestnut and glass pavilion, which includes a new Interpretation Room for visiting school groups. The pavilion structure wraps around the north, east and south sides and doubles up with a sweeping curve to create the first floor offices of the curators.  © Hufton+Crow The building has been meticulously re-planned to ensure the separation of public and private functions, maintaining Henry Moore Foundation's 'Known Consignor' status, which is critical to its international art handling operations. The transparent design maximises views of Moore's bronzes set in the gardens around his Grade II* listed home.  © Hufton+Crow The library and archive of the Foundation are the world's leading resource on the life and work of Henry Moore, containing publications, correspondence, photographs and exhibition material. This peerless collection was housed in a former dwelling, which was in poor condition. The house has been fully refurbished, re-presented and substantially extended with a new monopitch wing clad in oxidised steel panels, selected to complement the woodland site. A timber lined reading room with a louvred corner window and a fully glazed entrance pavilion give glimpses of the activities within, and offer views out to the gardens which Moore so appreciated. Storage areas are fully compliant to national standards for the conservation of archive material.  © Hufton+Crow The design of both buildings reinforces the relationship of the visitor with sculpture and landscape. The calm and sensitive architecture is characterised by natural materials, light and space. Details and workmanship reflect the Foundation's commitment to craftsmanship.  © Hufton+Crow Engineering systems have been sensitively integrated with the architecture, with a common plant solution shared between the two buildings, providing different environmental conditions on a demand-led basis. Sustainability underpins the design. Heating and cooling to both buildings is provided through a shared ground source heat pump with vertical boreholes in the gardens adjacent to the new archive. Projecting canopies to south facing elevations minimise heat gains and a natural ventilation strategy has been devised for all public and office areas.  This posting includes an audio/video/photo media file: Download Now |
| Spurred by Privatization, Beirut's Working Class is Colonizing the City's Periphery Posted: 31 May 2017 02:30 AM PDT  © Manuel Alvarez Diestro 27 years after the Lebanese Civil War (1975 – 1990), Beirut finds itself a city of conflicting personalities. A summer night stroll through the recently completed Zaitunay Bay Marina flaunts the capital's ongoing facelift. What GQ calls "the chosen destination for young rich cool kids across the globe" is now peppered with glitzy glass-clad high rises, world-class nightclubs, droves of foreign tourists, and high-profile architecture. A Steven Holl-designed yacht club is just minutes away from Herzog & de Meuron's Beirut Terraces, a luxury condominium skyscraper overlooking a seaside promenade that the resort refers to as an "urban beach." However, this inner-city development has also had extreme consequences on the city's periphery, as shown clearly in this photoset by Manuel Alvarez Diestro.  © Manuel Alvarez Diestro Beirut's tourist-centric economy seems to be paying off on paper: MasterCard's 2011 Index found that the "Paris Of The Middle East" held the second-highest levels of visitor spending in the entirety of the Middle East and Africa. Even six years ago, tourism brought in a whopping $6.5 billion annual cash infusion to the city's economy, and this number has grown rapidly. This is excellent news for Lebanon's government, which has gleefully gambled with privatization in the interest of quickly transforming the city's image away from terrorism and conflict.  © Manuel Alvarez Diestro Zaitunay Bay and the slew of resort projects that dot Beirut's waterfront property are the brainchild of Solidere—a quasi-public joint-stock real estate company tasked with reshaping the central business district of post-war Beirut. Founded shortly after the war in 1994 by Rafiq Hariri, the then-prime-minister billionaire real estate mogul of Lebanon, Solidere possesses extensive eminent domain privileges that allow the company to build, relocate, and demolish as they please.  © Manuel Alvarez Diestro While Beirut's government has figured out how to sell the city to foreign investors, it has neglected its inhabitants. The city's outdated laws on "Old Rent," originally intended to protect the city's poorest inhabitants by freezing rents, have ironically spurred urban renewal. The unsustainably low rents incentivize property owners to either neglect their building or willingly sell the property to developers. Surging seaside property value has driven out once-vibrant working class neighborhoods in favor of high revenue establishments—a trade-off that isn't always lucrative; outside of peak tourist months, the city's increasingly gentrified center is largely dead as it's completely out of reach to all but the wealthiest residents.  © Manuel Alvarez Diestro This profit prioritization has led to appalling civic consequences. Last year a forsaken overcapacity landfill shut down the city's garbage collection for months, causing a river of trash to accumulate throughout the capital. The current state of affairs has driven many citizens and refugees alike to settle Beirut's extremities and take up residency in the neighboring communities of Mount Lebanon. These agitations haven't only shifted established working class populations, they've also encouraged brain drain: nearly half of Lebanon's educated millennial workforce intend to emigrate.  © Manuel Alvarez Diestro Unfortunately, Beirut's evolution from once-egalitarian capital to war-torn metropolis to hollowed out Mediterranean tourist trap seems unavoidable. The push for mass privatization of Beirut's few remaining public spaces is a large driver of working class exodus. Formerly public beaches and parks now require an entry fee, creating an air of exclusivity that disgusts residents.  © Manuel Alvarez Diestro The fight to preserve the city's last public beach, Ramlet el-Bayda, was a losing battle. The Dubai-esque towers and harbor of the upcoming Eden Bay Resort have already commenced construction. "The citizens do view it as betrayal. The beach should be public," says American University of Beirut architecture student Lama Khatib. "The legal ambiguity of the coast has allowed it to become fully privatized... These resorts are forcing us to pay at least $20 – $35 to spend the day at a beach which we know is rightfully ours."  © Manuel Alvarez Diestro  This posting includes an audio/video/photo media file: Download Now |
| Posted: 31 May 2017 02:00 AM PDT  © Nelson Kon
 © Nelson Kon From the architect. This house, placed at Itamambuca beach, has its starting point on the context and the program. Close to the seashore and surrounded by a dense and rich rainforest vegetation, the site pointed towards a simple conceptual insight. The clients, in addition, brought a sense to occupy the space in the most integrated way. The project defines itself aligning two different inputs that arose from these desires. First, a racional square shaped concrete slab that defines with clarity a floor to lean on and a roof to protect.  © Nelson Kon The ground floor lifts slightly from the natural terrain and presents itself as step up towards the common space or eventually a bench to enjoy nature. The upper slab combines structural techniques with the fluidity of the space created in between and the intent of bringing in the natural insolation, ventilation and the rainforest environment.  © Nelson Kon The upper slab, an inverted prism with all of its columns on the borders, are placed simetrically allowing the openess towards all the directions enhancing the permanent connection in between nature and shelter throughout all the common space.  Plans In a cozy and private atmosphere, the inward areas are combined in a simple and gentle precast wooden structure that lays on top of the concrete slab as if it was just another piece of carefully chosen furniture that composes the whole.  © Nelson Kon  This posting includes an audio/video/photo media file: Download Now |
| Zaha Hadid Celebrated in Latest Google Doodle Posted: 31 May 2017 01:00 AM PDT  Zaha Hadid in front of the Heydar Aliyev Center. Image via Google Doodles The latest Google Doodle, on display today on Google's homepage in many countries around the world, honors the late Zaha Hadid on the 13th anniversary of her acceptance of the Pritzker Prize. The highest honor in the architectural profession, Hadid became the first woman to be selected as a winner in 2004. The doodle portrays the architect in front of one of her most acclaimed buildings, the Heydar Aliyev Center in Baku, Azerbaijan. Earlier concepts for the doodle are shown to have featured Hadid's designs for the Glasgow Riverside Museum and Galaxy Soho in Beijing.  Early concepts of the doodle. Image via Google Doodles Google describes Hadid: Born in Iraq in 1950, Hadid learned about abstract art and architecture at the Architectural Association in London. There, she found inspiration in unconventional forms. Before computers made her designs easier to put on paper, Hadid's studio was known to use the photocopier in creative ways to bend lines and create new shapes. The type in today's Doodle finds inspiration in Hadid's energetic sketches, which explored both form and function. Hadid broke new ground on modern architecture using the surrounding landscape for building inspiration. The straight lines and sharp angles of the Vitra Fire Station in Germany were inspired by nearby vineyards and farmland, while the roof of the London Aquatic Centre forms the shape of a wave. You can see the London Aquatic Centre and some of Hadid's other impressive work in Google Earth's interactive exhibit. The Heydar Aliyev Center, pictured in today's doodle, sets itself in contrast to the block-like structures that surround it in Baku, Azerbaijan. At the same time, this cultural center takes inspiration from historic Islamic designs found in calligraphy and geometric patterns to create something entirely new. The building takes an open form to invite the public into its space. The center has played host to modern art by Andy Warhol and Tony Cragg, and world-class performances from Kitaro and Alessandro Safina. In her early work, Hadid visualized her projects through paintings that resembled abstract modernist art. She famously said, "There are 360 degrees, so why stick to one?" You can explore some of these early concepts - including via virtual reality - on the Google Cultural Institute. Today we celebrate Dame Zaha Hadid's contributions over her lifetime to the world of architecture. Thank you, Dame Zaha Hadid, for all you've done to bring people together in the service of art and culture! News via Google.
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| The Residential, Monumental, Gregarious and Bucolic Scales of Lucio Costa's Brasilia Posted: 30 May 2017 11:00 PM PDT  Monumental Scale. Image © Joana França "What characterizes and gives meaning to Brasilia is a game of three scales... the residential or everyday scale... the so-called monumental scale, in which man acquires a collective dimension; the urbanistic expression of a new concept of nobility... Finally the gregarious scale, in which dimensions and space are deliberately reduced and concentrated in order to create a climate conducive to grouping... We can also add another fourth scale, the bucolic scale of open areas intended for lakeside retreats or weekends in the countryside." - Lucio Costa in an interview with Jornal do Brasil, November 8, 1961. Photographer Joana França shared with us an impressive series of aerial photographs of the national capital of Brazil, Brasilia. The photoset is divided into four sub-series each presenting a scale: residential, monumental, gregarious and bucolic. Residential Scale Residential Scale. Image © Joana França Monumental Scale Monumental Scale. Image © Joana França Gregarious Scale Gregarious Scale. Image © Joana França Bucolic Scale Bucolic Scale. Image © Joana França  This posting includes an audio/video/photo media file: Download Now |
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