Arch Daily |
- Sattelkammer Heidelberg Castle / Max Dudler
- Fleinvær Refugium / TYIN Tegnestue + Rintala Eggertsson Architects
- Valkenberg Estate / Ard de Vries Architecten
- Jixian Kindergarten / Atelier Y
- Bamboo Bridge in Indonesia Demonstrates Sustainable Alternatives for Infrastructure
- Prix Versailles Celebrates 12 Projects for Their Outstanding Commercial Architecture
- Maison sur le Lac / ACDF Architecture
- Bamboo Showcases its Flexibility in Hyperbolic Pavillion
- Architects and Structural Engineers: Can’t We All Just Get Along?
- House Paes / Marcos Franchini
- The Construction Details of ELEMENTAL's Incremental Housing
- Barnham Road / MOCT Studio
| Sattelkammer Heidelberg Castle / Max Dudler Posted: 18 Jun 2017 10:00 PM PDT  © Stefan Müller
 © Stefan Müller From the architect. Following its transformation into a visitors' restaurant, Heidelberg Castle's historical Sattelkammer (tack room) can once again be experienced in its original dimensions. Max Dudler has restored the space to its original size and created a reception area worthy of the castle. The ceremonial opening took place on 18 April 2017.  © Stefan Müller Heidelberg Castle is one of the most important Renaissance buildings north of the Alps. With more than one million visitors a year, it is one of the most popular tourist destinations in Germany: a quintessentially German scene that leaves a lasting impression on its many foreign visitors. With his new concept for the Sattelkammer, adjacent to the new visitor centre that opened in 2012, Max Dudler has completed another important component of the ensemble at the entrance to the castle and garden. Dudler's concept and design for the ensemble surrounding the entrance path, flanked by the Sattelkammer, the visitor centre and the gardener's lodge, won the architectural competition for the project in May 2009.  © Stefan Müller The Sattelkammer, built during the reign of Frederick V, backs onto a retaining wall of the castle gardens (Hortus Palatinus), dating from the 13th century. Remarkable features of the old building, in addition to its two-meter-thick sandstone walls and large window openings, include its size – the interior has a volume of approx. 27 x 12 x 9 meters – and its prominent position at the entrance. The building forms an axis with the gatehouse, through which the visitors enter the courtyard. Max Dudler's intervention restores the emphasis on the building's dimensions and orientation. Following its restoration according to the specifications for monument preservation, the room's expansiveness can once again be experienced in its entirety. The interior was completely freed of all additions from the 1980s. Secondary functions are accommodated in the tower-like addition and a niche in the rear wall. A full-length acoustic wall panel of cherry wood clads the niche. The lamellae design, like the acoustic ceiling, is clearly a contemporary intervention. A simple terrazzo stone was selected for the floor. The limited number of materials – sandstone masonry, wood, terrazzo – underscores the dignified simplicity of the rectangular space. The existing roof was replaced by a three-part, zinc-plated roof, which reflects the tripartite division of the building.  © Stefan Müller The interior houses a restaurant. The furniture – tables, chairs and bar – were also designed by Max Dudler. One of the historic window openings allows for street sales in the summer. Kitchen, storage and building technology are housed in the tower-like side room; the toilets and ventilation system are in the niche behind the wooden wall. The outdoor area, also furnished with tables, was designed by the landscaping firm, TDB Landschaftsarchitektur. The small area between the Sattelkammer and the visitor centre unites two structures aesthetically and functionally. The stone ensemble at the entrance thus forms a harmonious prelude to the castle  Elevation Castles and fortresses are a recurring focus of Max Dudler's architectural work. His designs for Heidelberg Castle, Hambach Castle and Sparrenburg Castle in Bielefeld testify to an intense architectural debate with the historical structures and locations.  © Stefan Müller  This posting includes an audio/video/photo media file: Download Now |
| Fleinvær Refugium / TYIN Tegnestue + Rintala Eggertsson Architects Posted: 18 Jun 2017 08:00 PM PDT  Courtesy of TYIN Tegnestue + Rintala Eggertsson Architects
 Courtesy of TYIN Tegnestue + Rintala Eggertsson Architects Serenity, Sea Air and Sensitivity  Courtesy of TYIN Tegnestue + Rintala Eggertsson Architects "Given the context of the project, we felt it natural to invite Sami Rintala and his office Rintala Eggertsson Architects to join the team. He has impressive experience in this scale of work, and a unique capacity for practical, architectural fieldwork in rough conditions. We felt safer when he agreed to take part," says Andreas Grøntvedt-Gjertsen from TYIN tegnestue architects.  Situation Plan 2  Site Plan The quartet became a quintet, and the practical work could begin. A preliminary step was partitioning the project in to several smaller milestones. The building site was subjected to a thorough three-dimensional scan, conducted in corporation with architecture students from NTNU (Norwegian University of Science and Technology). This gave a full overview of the lot, instrumental in guiding the further development of the project. A modest interference with the ground stood out as an important principle for the building process. Moss and other terrestrial vegetation contribute to the natural splendour of Fleinvær. If torn during building, it will need decades to grow back. The isle is also a nesting area for gulls and seabirds. The concern for the natural surroundings is reflected in the small building volumes and their careful adaptation to the terrain. The project's modest contact with the ground level also makes removal of the buildings possible, without extensive damage to the natural environment.  Courtesy of TYIN Tegnestue + Rintala Eggertsson Architects  Elevation  Courtesy of TYIN Tegnestue + Rintala Eggertsson Architects "We have taken care to inflict as few wounds as possible on Fleinvær. We achieve this in part by making good pathways, spaces between the houses, and a common fireplace. This steers traffic away from the isles more sensitive areas," explains Sami Rintala.  Courtesy of TYIN Tegnestue + Rintala Eggertsson Architects Logistics and Architectural Logics  Courtesy of TYIN Tegnestue + Rintala Eggertsson Architects "The foundations are minimalized, and consist of steel columns curved at 15 degrees angles. We found that at this particular angle, they hit the ground well regardless, given the possibility of height-wise adaptations to the terrain. In this way we were able to achieve precise pointed foundations without major interference with the ground," says Yashar Hanstad of TYIN tegnestue,  Courtesy of TYIN Tegnestue + Rintala Eggertsson Architects Raising this building from the ground creates an interesting room beneath it, fully visible from the main pathway. Its facades are clad in leftover materials from the other buildings. This is not only a way of fully utilizing materials, but also a practical adjustment to building in a location where logistics are a challenge.  Courtesy of TYIN Tegnestue + Rintala Eggertsson Architects "Normally easy things like food access and material availability become harder in an isolated working context. That is the downside. Then, there are the upsides. Picturesque and peaceful isolation from unnecessary information and redundant objects we surround ourselves with in everyday life," says Rintala.  Courtesy of TYIN Tegnestue + Rintala Eggertsson Architects The buildings in the heart of the Immersion Room are mono-functional, with the concert room on one side and the canteen to the other. One building is withdrawn relative to the other. This gives the canteen a larger outdoor space toward the seaside, while the concert room has its outdoor space toward the pathway from the sleeping modules. This creates a natural amphi in front. The workspace "njalla" houses the projects room of reflection. This is a modern interpretation of the Sami people's traditional storehouse, the njalla. The Sami njalla is built on the trunk of a chopped tree. This is doubly fitting for the Immersion Rooms, since it both maintains the desired light touch with the ground while also paying respect to the civil engineering history of Northern Norway. The njalla is enclosed in a steel skeleton, premade in Trondheim by Waaberg and NTNU-students. Sitting atop a pillar, it has a breath taking view of the Norwegian Sea. The reflection room inspires feelings of freedom and isolation.  Courtesy of TYIN Tegnestue + Rintala Eggertsson Architects  This posting includes an audio/video/photo media file: Download Now |
| Valkenberg Estate / Ard de Vries Architecten Posted: 18 Jun 2017 07:00 PM PDT  © Kim Zwarts
 © Kim Zwarts Location  Site Plan The house is part of the estate Valkenberg and therefore takes a position in the tradition of heirs and estates in Twente. The house absorbs the length, the views and the seclusion –recognizable characteristics of the bocage - in itself. The size of the rooms, the light, the use of materials and the orientation ensure that the prospect of the bocage is constantly changing when moving through the house.  © Kim Zwarts The length of the entrance is communicating with the existing hedgerows. The new sheltered environment of the bocage is to experience in the open, central kitchen. The panorama of the ash is to celebrate in the privacy of the living room. The landscape is appearing in the villa in multiple guises.  © Kim Zwarts Daily Space  © Kim Zwarts We have done this by creating spaces that ensure that the perspective is constantly changing because of their seize, illumination, function, materials and orientation.  Floor Plan  Floor Plan The architecture has to receive the resident. The home has to enable him to experience the space and to live his everyday live here. It should not constantly 'talk' with him.  © Kim Zwarts Made of Local Materials The beautiful barns near Dinkelland are made from untreated oak, a material that can be found superfluous in this area.  © Kim Zwarts Crafts With the bricklayer we selected the heavy sandstones carefully to designate specific places. The appearance of the stone differs by its orientation to the sun and it transforms with the seasons.  © Kim Zwarts  This posting includes an audio/video/photo media file: Download Now |
| Jixian Kindergarten / Atelier Y Posted: 18 Jun 2017 01:00 PM PDT  © SouthArch.Liky
 © SouthArch.Liky From the architect. As part of the reconstruction effort after the Lushan earthquake, Jixian kindergarten, a project of the kindergarten donation program in Ya'an from One Foundation, is located in Tangjia Township, Hanyuan County where in the distance are range upon range of mountains and hills, as well as on the horizon is the opening of valley.  © SouthArch.Liky Concentration and Openness It is a tight 'budget' that the land area of the project is only 2940㎡, comparing with the construction standard which specifies at least 4300㎡ for 12-class kindergarten. Hence the 12 activity rooms are stacked in three layers on the side of the site adjoining the school and joined by a wide corridor. The nap and music/sports rooms are separately inserted in the main structure in the form of small one- or two-storey boxes, with the rooftops of the boxes turned into multiple outdoor spaces. Meanwhile, part of the ground floor structure is left open as entrance, and the gaps between the building structures allows breeze coming from the river valley to brush through.  © SouthArch.Liky Cluster, Street, and Interaction For the purpose to shorten the distance for children to reach the ground-level playground, more open, intimate spaces are provided on various floors, just like a vertically stacked cluster, children are able to play and interact in the interspaces between the building structures. Utilizing the rooftops at different elevations, the design creates multiple spaces for class activities on the second and third floor, giving rise to both a sense of territory and openness.  © SouthArch.Liky  First Floor Plan  © SouthArch.Liky In order to create more possibilities for activity, the corridor is designed to be wide and irregular as a 'street', which resemble the roads connected with the neighboring village. All functional rooms of the kindergarten face the 'street', and their doors and windows have different 'expressions'. The deep-set window boxes are shaped into 'niches' of different heights. Playing and interacting with one another daily in this miniature street, which, as time passes, imperceptibly becomes part of children's growing experience.  © SouthArch.Liky Site and Premises There is four meters height difference in the site, high in the south and low in the north. The outdoor ground retains the original terrain. The northernmost music/sports room and the rising steps give form to the small outdoor theater, connecting by the playground platforms gradually rising toward the south with the play equipment area and the botanical garden, respectively. The highest point in the south eventually joins with the 'street' on the second floor, forming a spatial loop.  © SouthArch.Liky Perimeter and Integration According to relevant safety regulations, the enclosure was alternated from void fence into solid perimeter wall, which enhances the sense of domain for the kindergarten, with children frolicking inside and farmers working the farmland outside. However, the inside-outside communication is temporarily blocked on the ground floor, making the ground-floor playground a pure internal space, while the terraces and corridors on the second and third floors reconnect the view to the outside.  © SouthArch.Liky  This posting includes an audio/video/photo media file: Download Now |
| Bamboo Bridge in Indonesia Demonstrates Sustainable Alternatives for Infrastructure Posted: 18 Jun 2017 09:00 AM PDT  © Andrea Fitrianto As part of the second Bamboo Biennale held in October 2016, the city of Solo in Central Java received a public Bamboo Bridge courtesy of Indonesian Architects Without Borders (ASF-ID). Connecting the Pasar Gede market and colonial Dutch Vastenburg Fort, the 18-meter bamboo structure offers a revitalization of river life in the historic Indonesian city. Spanning across the Kali Pepe river, residents of Java can traverse the pedestrian bridge on its track that varies in width from 1.8 to 2.3 meters.  © Andrea Fitrianto Integral to the project was the introduction of bamboo as a viable material for public infrastructure. As part of the initial design process, scale models were tested in the engineering lab at the Parahyangan Catholic University. From there, carpenters from Yogyakarta led the construction and assembly of the bridge between October and December. Also important to the success of the project was the support of the adjacent community of Kampung Ketandan, who provided lodging for the builders and volunteers.  © Andrea Fitrianto Assembled in a parking lot, the main arches of the bridge are a result of large bamboo poles cut at regular intervals and secured together with galvanized steel bolts. Mobile cranes were then used to place them on to the foundations. Vertical supports at regular intervals accompany the arches to provide extra support to the roof structure. To prolong the longevity of the bridge, the floor is made of reinforced concrete and its roof has eaves to protect the pest-treated petung bamboo from seasonal tropical rains.  © Andrea Fitrianto Description from the Architects: In the context of promoting bamboo as a promising material for the future, the bridge is showcasing the value of the material for a public facility within cities.  Courtesy of ASF-ID Due to its structural properties and fast growth, bamboo is expanding in popularity as a sustainable building material. A main goal of the architects was to exemplify the constructive possibilities of the plant, known for its tensile strength and flexibility. Although abundant in Indonesia, bamboo is most often considered a secondary construction material. As the developing world cultivates a language for sustainable architecture, bamboo infrastructure projects such this first-of-its-kind bridge will become increasingly important points of reference.  © Andrea Fitrianto Architects: ASF-ID  Plan  Section  Perspective  This posting includes an audio/video/photo media file: Download Now |
| Prix Versailles Celebrates 12 Projects for Their Outstanding Commercial Architecture Posted: 18 Jun 2017 07:00 AM PDT  Courtesy of Prix Versailles The international Prix Versailles Committee has announced the recipients of its annual awards celebrating built commercial architecture. The awards were held at the UNESCO World Headquarters, with recipients hailing from 6 regions around the world. Chaired by the Mayor of Versailles François de Mazières, the international jury included architects Manuelle Gautrand, Toyo Ito, Wang Shu, and acclaimed chef Guy Laroche. The 12 World Titles are awarded in 4 top categories: stores, shopping malls, hotels and restaurants. The winners were selected from a diverse range of 70 regional winners already present in the ceremony. Check out the gallery of the 12 winners below: Shops and StoresPrix Versailles 2017: Dior; Miami, U.S.A. Architects: BarbaritoBancel Architects Special Prize Interior: Hangzhou Zhongshuge; Hangzhou, China  Dior; Miami, U.S.A. / BarbaritoBancel Architects. Image © Alessandra Chemollo Architects: X+Living Special Prize Exterior: Chanel (Temporary Store); Amsterdam, Netherlands  Hangzhou Zhongshuge; Hangzhou, China / X+Living. Image © Shao Feng Architects: MVRDV Shopping Malls Chanel (Temporary Store); Amsterdam, Netherlands / MVRDV. Image © MVRDV Prix Versailles 2017: Tokyu Plaza Ginza; Tokyo, Japan Architects: Nikken Sekkei Special Prize Interior: ARG Shopping Mall; Tehran, Iran  Tokyu Plaza Ginza; Tokyo, Japan / Nikken Sekkei. Image © Koji Fujii, Nacasa & Partners Inc. Architects: arsh4d studio Special Prize Exterior: Lideta Mercato; Addis Ababa, Ethiopia  ARG Shopping Mall; Tehran, Iran / arsh4d studio. Image © Ali Daghigh, Parham Taghiof Architects: Vilalta Arquitectura Hotels Lideta Mercato; Addis Ababa, Ethiopia / Vilalta Arquitectura. Image © VILALTA Prix Versailles 2017: Chablé - Yucatan Peninsula; Chocholá, Mexico Architects: Jorge Borja, Paulina Morán Special Prize Interior: Spedition; Thun, Switzerland  Chablé - Yucatan Peninsula; Chocholá, Mexico / Jorge Borja, Paulina Morán. Image © Chablé Resort & Spa Architects: Stylt Trampoli Special Prize Exterior: Mar Adentro; San José del Cabo, Mexico  Spedition; Thun, Switzerland / Stylt Trampoli. Image © Stylt Architects: Miguel Ángel Aragonés Restaurants Mar Adentro; San José del Cabo, Mexico / Miguel Ángel Aragonés. Image © Joe Fletcher Prix Versailles 2017: Illusion; Doha, Qatar Architects: Rockwell Group Special Prize Interior: Shukufuku Japanese Bento; Melbourne, Australia  Illusion; Doha, Qatar / Rockwell Group. Image © Rockwell Group Architects: Rptecture Architects Special Prize Exterior: The Dancing Pavilion; Rio de Janeiro, Brazil  Shukufuku Japanese Bento; Melbourne, Australia / Rptecture Architects. Image © Rptecture Architects Architects: Estudio Guto Requena News via: Prix Versailles.  The Dancing Pavilion; Rio de Janeiro, Brazil / Estudio Guto Requena. Image © Fernanda Ligabue, Rafael Frazão  This posting includes an audio/video/photo media file: Download Now |
| Maison sur le Lac / ACDF Architecture Posted: 18 Jun 2017 06:00 AM PDT  © Adrien Williams
 © Adrien Williams TWO SISTERS & THE RURAL LANDSCAPE  Sketch Like Memphremagog`s landscape, the house is built with openness as a mindset, without physical boundaries. The starting point for the architecture is that of the immediate landscape; the scenic beauty of the surroundings. Large agricultural lands and valleys, whose only visual limits are fences and stone walls, extending to the horizon and opening again to other mountainous landscapes.  © Adrien Williams Located in the center of the site, the fence is redefined as a continuous wood band. From the ground, the wood band rises and envelops the living spaces by modulating the openings of the house. The horizontal openings define panoramic views of nature and the lake. Experiences with the landscape are many and varied. And despite the changing views, simplicity and volumetric organization of the house are based on this simple anchorage to the site.  © Adrien Williams  Ground Floor Plan  © Adrien Williams The house naturally takes up this idea of the local landscape so often panoramic, except that the limits of a fence are used here to define the space, creating a place for the program by trapping the substance of landscape in its center. Vernacular typology of the Eastern Townships, the wooden farm buildings and sustainable construction made of field stone, is reinterpreted to define the modern house that is generously opened on the landscape.  © Adrien Williams CONTEXT  © Adrien Williams The resulting wooden object is solidly anchored to the ground by a concrete mass that conserves the traces of the hemlock, like fossilized wood. On the western side, a screened porch is oriented towards the view of the sunsets over the lake, while the eastern garage/workshop includes the technical spaces of the house and contributes to defining the interior courtyard, which is sheltered from the wind and acts as a secondary terrace. In contrast to the light wood hemlock, the stone mass at both ends of the house firmly anchors the building to the ground, reminiscent of tree roots that envelope rock masses.  © Adrien Williams BALANCE, MATERIALITY AND REUSE  © Adrien Williams No traditional HVAC system is installed in the residence. Only passive principles are proposed to ensure proper ventilation and solar gain control. To minimize heat gain in the summer, variations in relief if the wood band sometimes act as a sunscreen or sometimes as a structural wall or semi-transparent screen. Combined with an envelope and glazing with exceptional insulation, natural ventilation through North-South and roof overhangs carefully oriented according to daylight ensure occupant comfort.  © Adrien Williams The local hemlock wood which is the main material of the residence is left natural and will gain a gray patina over time. The house will slowly begin to blend in with the natural environment, fitting perfectly into the trees that already inhabit the site. The use of local materials, such as reclaimed barn boards that make up the built-in furniture and the central staircase, provide a direct link to rural buildings that are proof of longevity and durability. Recycled from the agrarian walls of the surroundings, the polished stone floor paving covers the entire ground level and acts as thermal mass. The comfort, simplicity and warmth of the materials chosen are conducive to the family atmosphere desired by the dwellers and subtly accompany the aromas of sugar tarts that simmer in the kitchen!  This posting includes an audio/video/photo media file: Download Now |
| Bamboo Showcases its Flexibility in Hyperbolic Pavillion Posted: 18 Jun 2017 05:00 AM PDT  Courtesy of Building Trust International A team of architects from Florence, Italy have won CAMBOO's bamboo design competition showcasing the material for its strong and sustainable construction qualities. Held in Phnom Penh, Cambodia, the CAMBOO festival sought to find an innovative design for a landmark pavilion as a centerpiece during the event. Architects Roberto Bologna, Fernando Barth, Chiara Moretti and Denny Pagliai beat out 125 entries with their winning "Hyperbamboo" pavilion, which was chosen for its "intelligent and well thought out use of bamboo as a construction material."
 Courtesy of Building Trust International  Courtesy of Building Trust International Hyperbamboo is built entirely from locally sourced Cambodian bamboo and shading fabric. Built in Freedom Park in Phnom Penh, the pavilion entrances fall along the longitudinal axis of the park's square, where people move through the most during the festival.  Courtesy of Building Trust International  Courtesy of Building Trust International The pavillions' sail-like planes (two long and two short) are modelled after hyperbolic parabolas, which complement the flexibility and tensile character of bamboo. The two long sides increase the shade offered by the structure, while the two shorter sides include inclined walls that shield the view towards adjacent stores. The shape created by the roof can efficiently protect the pavilion from rain, with water rolling off its sides.  © Lucas Veuve  Courtesy of Building Trust International A primary structural frame of thick bamboo beams is used to set up the outer plane edges of the roof with a secondary frame forming the grid onto which the shading fabric is attached. Hyperbamboo is built with several external partitions - it can be completely open or closed on all four sides, or closed alternately on two opposite sides to create cross-ventilation and allow for natural light. At night, the use of artificial light gives the pavilion a glow through the semi-opaque roof sails.  Courtesy of Building Trust International The jury included representatives of Building Trust International, local skilled bamboo workers and architecture and landscape design professionals. The judges were reportedly "impressed with level of clear understanding and thought paid to the building stages of the design."  Courtesy of Building Trust International  Courtesy of Building Trust International
 Courtesy of Building Trust International Bamboo often gets a bad rep as a "poor" material, but the stigma is lifting as its resurgence is supported by contemporary projects. In developing countries where the demand for steel-reinforced concrete is high, bamboo is being considered as a possible replacement, marking a new direction for the sustainable material. Its tensile strength and curve-friendly potential have been adopted into supporting skyscrapers in Hong Kong to beautifully crafted bamboo homes - a new departure from its vernacular roots. Architects: Roberto Bologna, Fernando Barth, Chiara Moretti and Denny Pagliai (CAMBOO competition winners) News via: Building Trust International.
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| Architects and Structural Engineers: Can’t We All Just Get Along? Posted: 18 Jun 2017 02:30 AM PDT  Of the world's most famous architects, few have any formal training in engineering. Santiago Calatrava is perhaps the most well-known of the group. Image © <a href='https://commons.wikimedia.org/wiki/File:Calatrava_Puente_del_Alamillo_Seville.jpg'>Wikimedia user Andrew Dunn</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/deed.en'>CC BY-SA 2.0</a> Charles Thornton, one of the world's preeminent structural engineers, once said that the greatest challenge facing the profession of structural engineering is that "I don't think we have enough self-esteem and enough confidence in ourselves to believe that what we do is so important... Architects are trained to present, to communicate, to sell, to promote themselves, to promote their industry, and to take credit for what they do." As a structural engineer with over a decade of experience, I agree with Mr. Thornton—to an extent. Yes, structural engineering is the red-headed stepchild of the construction process and, yes, some of the fault is ours. The structural engineer doesn't get the credit that the architect does because as an industry, we have failed to demand it. We have settled into a back seat role rather than asserting ourselves. We play our part, get our check, and move on. Where I respectfully disagree with Mr. Thornton is his assertion that structural engineers don't believe what we do is important. On the contrary, we are very aware of the pivotal nature of our work. The issue is whether other people do, particularly our colleagues in the creative design world.  The structures of the Sydney Opera House's iconic shells were only resolved through a long and close collaboration between the building's architect Jørn Utzon and its engineer Ove Arup. Image © <a href='https://www.flickr.com/photos/jimmyharris/114537716/'>Flickr user jimmyharris</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Many engineers feel (and likely perpetuate) an "us vs. them" mentality in their relationship with architects. Personally, I would describe it as more of an undervalued feeling. Structural engineering services are often treated as a necessary evil in the construction process. Sure, architects, builders, developers, and owners understand that they have to have our seal and signature on their drawings in order to comply with building code requirements and ultimately to get their building permits. But I don't believe the value of what we have to offer is realized. This sense of disregard is real. The website of The American Society of Civil Engineers features a study among practicing engineers that concludes that "there are challenges for structural engineers in the relationship with their architectural client, which include architects' lack of respect for their structural engineering colleagues as well as negative connotations of the field." A study by the Society of Structural Engineers concurs, noting engineers' frustration with the lack of structural understanding among architects, their habit of seeking structural advice too late for optimal structural solutions, and their general lack of interest in collaboration. On the other hand, architects are frustrated by the engineer's lack of both innovation and engagement with architectural design ideas. Architects view engineers as lacking vision and appreciation for aesthetics—technically competent but otherwise underqualified and uninspired—while engineers typically view architects as idealistic and ignorant to the laws of physics—design snobs oblivious to budgets. Working together can be a collision of conflicting personality types and professional goals. Is there a certain amount of jealousy in structural engineers' relationship with our colorful colleagues? Perhaps. Most architects insist on winning jobs based on their qualifications and design abilities (among other professional capabilities, of course). But outside of extremely complex and specialized fields (high rises, stadiums, etc), I believe it is rare for a structural engineering firm to sell themselves solely based on merit and having the greatest ability to do the job well. Architects build "testaments to the human spirit" with glossy magazines devoted to their work, while structural engineers talk rigidity and load factors and are anonymous until something goes wrong. This, of course, is not the rule. There are many engineers who are aesthetically oriented and many architects adept at mechanical disciplines. ![Viollet Le Duc, a 19th-century architect well-known for his innovations in architectural structures, believed that "the interests of [both the architecture and structural engineering] professions will be best saved by their union". Image <a href='https://commons.wikimedia.org/wiki/File:Viollet-le-DucConcertHallEntretiens.jpg'>via Wikimedia</a> (public domain)](https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_uibbCK6VAzabenWgGgrPgLa3eLsbFtQMFe4wQhxi_vzxDZW2HcXn3WWmHXFdSLYqxEOJh9GLt-wLSWVdsCJvPtDtPna6BT1u6fACHQQ1DTRXFmEluEGi2X0XCtzQvu84c4Dpv2N3OnmVwEUcV6blgmafI88wg8-5UhC_K5ybg2FCbUjYAKElISN1XHQMqsL-alCXBOctroYLEXn-jpvfuGguw9Dns=s0-d "Viollet Le Duc, a 19th-century architect well-known for his innovations in architectural structures, believed that \"the interests of [both the architecture and structural engineering] professions will be best saved by their union\". Image <a href='https://commons.wikimedia.org/wiki/File:Viollet-le-DucConcertHallEntretiens.jpg'>via Wikimedia</a> (public domain)") Viollet Le Duc, a 19th-century architect well-known for his innovations in architectural structures, believed that "the interests of [both the architecture and structural engineering] professions will be best saved by their union". Image <a href='https://commons.wikimedia.org/wiki/File:Viollet-le-DucConcertHallEntretiens.jpg'>via Wikimedia</a> (public domain) The truth is engineers and architects have more in common than they don't—specifically the expertise to evaluate and design buildings and provide safe, well-functioning spaces to work and live. Architectural design and structural design are meaningless without each other. It is the ultimate marriage of form and function. Architects need to have a working relationship with engineers in which he or she can trust that they will attempt to bring the architectural vision to life. Architects must listen when the engineers warn against something, whether it be a structural issue, a construction problem or a budget concern. And, yes, engineers need to realize the talent and vision that architects bring to the table, and use the knowledge that they possess to create a workable solution. The power of collaboration between engineers and architects has long been recognized. As architect Eugene-Emmanuel Viollet-le-Duc said in the 1800s, "the interests of the two professions will be best saved by their union." Cody Tharpe is Principal of Tharpe Engineering Group, Savannah, GA  This posting includes an audio/video/photo media file: Download Now |
| Posted: 18 Jun 2017 02:00 AM PDT  © Gabriel Castro / Reverbo
 © Gabriel Castro / Reverbo From the architect. After the development of some alternative occupation to the terrain started in mid-2013, the architectural program is reviewed and discussed in order to effectively meet the wishes of the couple who today make this house their home.  © Gabriel Castro / Reverbo At the bottom of the lot, from the early dialogues, it was planned an area destined to the hen house and asked not if using walls on the front line.  Ground Floor Plan The premises for the development of the proposal seek to segment the transition between social and intimate environments in a gradual way, thus, the "L plan" plays a fundamental role in the implementation of the work besides allowing integration with the landscape and external area.  © Gabriel Castro / Reverbo All proposed spaces are arranged to the predominant view wich has South insolation that enables translucent surfaces in conjunction with wooden shutters to close the rooms according to the will of the dweller.  © Gabriel Castro / Reverbo The living room and kitchen are integrated with an external patio that holds convergence point and meeting of the house. A support room, service area, storage and garage are arranged to the West side.  © Gabriel Castro / Reverbo The used materials and elements as well as the finishing of the slab and basement in its natural/raw state seek to emphasize the simplicity with which the work seeks to relate to the terrain.  This posting includes an audio/video/photo media file: Download Now |
| The Construction Details of ELEMENTAL's Incremental Housing Posted: 18 Jun 2017 01:00 AM PDT  Quinta Monroy, Section © ELEMENTAL Good location, harmonious growth over time, concern for urban design, and the delivery of a structure that has "middle-class DNA" are the key points of the ABC of incremental housing, developed in detail by the Chilean architects ELEMENTAL. It's a question of ensuring a balance between "low-rise high-density, without overcrowding, with the possibility of expansion (from social housing to middle-class dwelling)." Following this line of action, the office has released the drawings of four of the projects carried out under these principles, to serve as good examples of design which have already been implemented and proven in reality. However, despite making them available for free consultation and download, the architects emphasize that these designs must be adjusted to comply with the regulations and structural codes of each locality, using relevant building materials. Quinta Monroy | Iquique, Chile - 2003
 Quinta Monroy / ELEMENTAL. Image Cortesía de ELEMENTAL Sections  Quinta Monroy, Sections © ELEMENTAL  Quinta Monroy, Section © ELEMENTAL Carpentry  Quinta Monroy, Carpentry © ELEMENTAL Nodes  Quinta Monroy, Nodes © ELEMENTAL Metal Staircase  Quinta Monroy, Metal Staircase © ELEMENTAL Villa Verde Housing | Constitución, Chile - 2010
 Villa Verde / ELEMENTAL. Image Cortesía de ELEMENTAL Section / Details  Villa Verde, Section / Details © ELEMENTAL Details  Villa Verde, Details © ELEMENTAL Partitions  Villa Verde, Partitions © ELEMENTAL Doors / Windows / Details  Villa Verde, Doors / Windows / Details © ELEMENTAL Stair  Villa Verde, Stair © ELEMENTAL Monterrey Housing | Monterrey, México - 2010
 Monterrey / ELEMENTAL. Image Cortesía de ELEMENTAL Plans  Monterrey, Plans © ELEMENTAL Sections  Monterrey, Sections © ELEMENTAL Details  Monterrey, Details © ELEMENTAL Lo Barnechea | Santiago, Chile - 2010
 Lo Barnechea / ELEMENTAL. Image Cortesía de ELEMENTAL Sections  Lo Barnechea, Sections © ELEMENTAL  Lo Barnechea, Sections © ELEMENTAL Details  Lo Barnechea, Details © ELEMENTAL Download the complete plans of these projects from the official ELEMENTAL website. © 2016 ELEMENTAL Some Rights Reserved.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 17 Jun 2017 10:00 PM PDT  © Ioana Marinescu
 © Ioana Marinescu From the architect. East London-based MOCT Studio have re-planned and extended a suburban London semi-detached to provide a faceted roof social space for a large family.  © Ioana Marinescu The family of six had become increasingly cramped in the existing semi-detached, despite the previous addition of two small dormers, with shared children's bedrooms, a single bathroom and fragmented living spaces that meant the family were rarely all in the same room.  © Ioana Marinescu The owners wanted a bathroom and separate bedrooms for their children and a single open social space to gather. As a detour from the typical horizontal separation of living and private spaces, the axis of the stair was used as an additional division in the house allowing the children to occupy the entire first floor and the parents the converted front ground floor rooms.  © Ioana Marinescu MOCT Studio pooled the living spaces into a new side and rear extension under a faceted zinc roof to create daily social space for family and friends. The full width of the property was used to create a single 42-square-meter central living space as a heart for the house. A number of secondary spaces then surround and connect into the large central space.  © Ioana Marinescu One of the owners is a cinematographer and needed a space to work and review footage at home. The deep plan area at ground floor under the existing house where natural daylight was difficult to provide is usurped for this purpose. The room is provided with specifically controlled lighting and can be connected or disconnected from family life in the central space by telescoping birch timber panels.  © Ioana Marinescu The entrance of the house and the approach to the central living space were designed to provide an element of play and sense of arrival. A small internal balcony was introduced to overlook the entrance vestibule allowing the children to gather, greet or surprise visitors. Leading from the entrance the central space is entered along a corridor before descending a few steps and revealing the faceted ceiling.  Proposed Ground Floor Plan The inspiration for the faceted multi-pitch roof came from the visibly eclectic mix of roof additions in the neighbourhood that present a hectic roofscape of varying pitches, ridges, hips and projections.  © Ioana Marinescu The standing seam zinc roof was set out from a series of height constrains along the property boundary with the neighbours and against the existing house. The facets are then made of varying pitches up towards a central high point. Two triangle roof lights are positioned and oriented to enhancing the dynamic volume and cast dramatic forms of natural light deep into the plan. The roof tapers down towards the garden to frame and connect to the new patio and garden beyond where the children play.  © Ioana Marinescu Birch timber panelling and joinery is used throughout the house to wrap the spaces and unifying the existing and new parts of the house. The paneling acts to provide a warm yet robust environment set at the scale of a child. In the central space the paneling becomes a datum against which to experience the faceted planes of the ceiling. Hidden doors from the central space into utility and storage rooms are designed to allow un-broken paneling across the rooms. The design continues the horizontal datum from the internal to the external elevation in basket weave brickwork.  © Ioana Marinescu A variation on the basket weave pattern is used in the teak oiled oak parquet floor throughout the house. Concrete tiles with a triangular motif are then used in the bathrooms reflecting the themes from the heart of the house.  © Ioana Marinescu  This posting includes an audio/video/photo media file: Download Now |
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