Arch Daily |
- BuBaO Sint-Lievenspoort / evr-Architecten
- Spotlight: Pier Luigi Nervi
- 3SHOEBOX House / OFIS Architects
- Štajnhaus / ORA
- Casablancka Residence / Budi Pradono Architects
- Abhyuday / KNS Architects
- RACE / Ministry of Design
- Switchback House / Edmonds + Lee Architects
- 7 Firms Reveal Plans for Los Angeles River Revitalization
- blu / gmp Architekten
- Adjaye, BIG, Sou Fujimoto and 4 Other Teams Reveal Proposals for Edinburgh's Ross Pavilion
- FULTON – A5 A1 / Agence Bernard Bühler
- Foster + Partners Reveal Updated Designs for Intermodal Transportation Hub in Spain
- Muraba Residences / RCR Arquitectes
- Diébédo Francis Kéré's Serpentine Pavilion Opens in Sun-Drenched London – But Will Come Alive During Rain
- "New(er) York" Imagines What New York's Historic Structures Would Look Like if Built Today
- DOC - Temporary Floating House / Lime Studio
- 6 Timeless Details Using Stone
- Powerhouse Wins Competition to Build New Urban Plaza in Eindhoven
| BuBaO Sint-Lievenspoort / evr-Architecten Posted: 20 Jun 2017 10:00 PM PDT  © Stijn Bollaert
 © Stijn Bollaert From the architect. On the site for care and education Sint-Lievenspoort in Ghent a neo-gothic cloister becomes refurbished, restaured and expanded as a new school for children with conditions concerning hearing, speech and autism. The monumental complex becomes an element in a new clear pattern of circulation throughout the site.  © Stijn Bollaert  Sections  © Stijn Bollaert The existing building that has lost a lot of its attractiveness throughout the years gets a fresh overhaul in which the spatial qualities get restored. There's once again an abundance of light and air. A non-qualitative addition in the inner courtyard is being removed to make place for a green meeting room and a multifunctional space with a roofterrace on top for the children. The new additions serve to realise human scale, orientation and identity for the school. The area becomes more natural and green.  © Stijn Bollaert  Ground Floor Plan  © Stijn Bollaert The historical hallways get renovated. Around these hallways are functional, flexible and spacious classrooms. In addition a new passage on the first and second level gets added as a double skin outside the building. This passage reinforces the visual and physical relationship between the interiors and the courtyard. The historical chapel gets reclaimed as a gym with changing rooms, an office for the gymteachers and a room for relaxation in the choir of the church.  Isometric Site Plan The renovation is also unique in the sense of sustainability. The floors, windows, roofs get insulated. There's also mechanical ventilation with a heat exchange to minimize heat losses. In terms of material-efficiency, as much of the existing materials as possible got reused in the project. Most of the sanitary water comes by way of rainwater-recuperation.  © Stijn Bollaert  This posting includes an audio/video/photo media file: Download Now |
| Posted: 20 Jun 2017 09:00 PM PDT  Palazzetto dello sport. Image © <a href='https://www.flickr.com/photos/ihavegotthestyle/221174130'>Flickr user ihavegotthestyle</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Known as both an architect and an engineer, Pier Luigi Nervi (June 21, 1891 – January 9, 1979) explored the limitations of reinforced concrete by creating a variety of inventive structural projects; in the process, he helped to show the material had a place in architecture movements of the coming years. Nervi began his career in a time of technological revolution, and through his ambition and ability to recognize opportunity in the midst of challenge, he was able to have an impact on several disciplines and cultures.  Image <a href='https://it.wikipedia.org/wiki/Stadio_Artemio_Franchi#/media/File:PNervi1.jpg'>via Wikimedia</a> (public domain)  Palazzetto dello sport. Image © <a href='https://www.flickr.com/photos/lulek/11420370036'>Flickr user lulek</a> licensed under <a href='https://creativecommons.org/licenses/by-nc/2.0/'>CC BY-NC 2.0</a> Nervi was born in Sondrino, Italy, and studied Civil Engineering at the University of Bologna until 1913. From even the earliest days of his career, Nervi had an incredible artistic sensibility which informed his design decisions. With this natural talent for design, the fact that he never studied architecture at a university never seemed to hinder his architecture. Shortly after graduating, Nervi went to work for a construction company, but left after a few years to co-found the building firm Nervi and Nebbiosi, which would later become Nervi and Bartoli. [1]  UNESCO Headquarters. Image © <a href='https://www.flickr.com/photos/french-disko/3712216223'>Flickr user french-disko</a> licensed under <a href='https://creativecommons.org/licenses/by-nc/2.0/'>CC BY-NC 2.0</a> Despite his bold designs, Nervi's approach to design was fairly practical. According to the Pier Luigi Nervi Project, "Nervi based his work on sound design and construction experience and on an intelligent intuitiveness, with a permanent intense attention to the relationships between structure and shape." [2] The architect developed a method of building scale models to test some of his more radical structural systems, and even won commissions (such as the Stadio Artemio Franchi) because of his ability to keep costs down. [1]  George Washington Bridge Bus Station . Image © <a href='https://commons.wikimedia.org/wiki/File:GWBridge-BusTerm.jpg'>Wikimedia user Seidenstud</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> Reinforced concrete became the dominant material in many of Nervi's buildings once he started his firm - and as he began his career, other architects and engineers were also gradually discovering its potential. However, what separated Nervi's work was his determination to use the material not only to create structurally sound buildings, but to express its beauty and use ingenious implementation methods to build to great lengths and heights.  Torino Esposizioni. Image © <a href='https://www.flickr.com/photos/alobooom/15555030467'>Flickr user alobooom</a> licensed under <a href='https://creativecommons.org/licenses/by-nc-nd/2.0/'>CC BY-NC-ND 2.0</a> Nervi first garnered major public attention with his work on the Stadio Artemio Franchi (1931), in Florence, Italy. With its cantilevered roof and elegantly winding stairs, the project announces the architect's affinity for visually dramatic structural design solutions. Between 1935 and 1942, Nervi built a series of airplane hangars across Italy for the Italian Royal Air Force; although they were destroyed, these works were instrumental in establishing Nervi's reputation as a design-conscious fusion of architecture and engineering. At the end of the 1940's, he produced the Torino Esposizioni (1949), an exhibition hall in Turin which later became an ice hockey rink for the 2006 Olympics, and showcases Nervi's ability to artfully span enormous lengths.  Pirelli Tower. Image © <a href='https://www.flickr.com/photos/ikkoskinen/4824881170/'>Flickr user ikkoskinen</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> As Nervi's career progressed, he brought his design approach to several different typologies and a variety of countries. In the 1950s, Nervi designed the UNESCO Headquarters in Paris (1950) and collaborated with Gio Ponti on the Pirelli Tower (1955-1959), bringing structural solutions to office buildings. Across the Atlantic, Nervi designed The George Washington Bridge Bus Station, a large sculptural concrete structure in New York City. Nervi's portfolio developed, but he still maintained an interest in his ability to span vast spaces; the Palazzetto dello Sport (1961), a project led by Annibale Vitellozi for which Nervi designed a concrete dome, showcases the architect's artistic sensibility present amidst challenging structural requirements.  Stadio Artemio Franchi. Image <a href='https://commons.wikimedia.org/wiki/File:Stadio_Comunale_Giovanni_Berta.jpg'>via Wikimedia</a> (public domain) Nervi produced some of his most well-regarded projects towards the end of his career. The Cathedral of St. Mary of the Assumption (1971), produced with Pietro Belluschi, and the Paul VI Audience hall in Vatican City (1971), bear Nervi's flair for producing monumental buildings through imaginative structural systems. By learning from decades' worth of projects and merging knowledge from several disciplines, Nervi's later designs reference many of the innovations he developed earlier, channeling a more powerful sense of ambition for structural achievement than ever before. See works by Pier Luigi Nervi featured on ArchDaily by clicking on the thumbnails below: A Brief History of Rome's Luminous Rotundas References:
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| 3SHOEBOX House / OFIS Architects Posted: 20 Jun 2017 08:00 PM PDT  © Tomaz Gregoric
 © Tomaz Gregoric From the architect. The Villa is located in Trnovo within the city center of Ljubljana, Slovenia. It is renovation of a small existing house dating from 1934. Old house was designed by architect Emil Navinsek, known for inovation space concepts of a school non-corridor plan. He designed the house next to his residence for his two unmarried eldery sisters who lived together in a small surface of only 50m2 per floor. The street where the house is situated was mostly built in the 60s and 70s with typical one family residential houses made in combination of white plaster render and dark wood cladding.  © Tomaz Gregoric The extension is creating different intersection between old and new part on each floor ... is composed of 3 cube volumes, each in a proportion of a shoe-box like existing house floorplan. Boxes are stacked with 90 degrees shifts creating overhangs and terraces. The volumes are claded in dark wood – spruce vertical lattice - in the context of the street architecture. The structure is combination of a concrete base, metal frames and wooden substructure. Interior of the new part is formed mostly by wall cladding creating integrated wardrobes and walls.  Existing house plans  © Tomaz Gregoric  Site plan  © Tomaz Gregoric The old house is simply renovated keeping all the existing textures and materials. Interior of an old house and new extension are connected in different ways – new extension perforates through the old walls creating associated facilities: groundfloor as a living area, first floor with kids rooms and guest room, top floor with master bedroom and living.  Section B-B The heart of the house – intersection of volumes and connector of old and new is a staircase attached to a main vertical concrete wall. Inspired by Adolf Loos interiors forms elevated podiums, niches, wardrobes, small sitting areas and is partly extended into small spaces in the existing part of the house creating private living areas on each floor.  © Tomaz Gregoric  This posting includes an audio/video/photo media file: Download Now |
| Posted: 20 Jun 2017 07:00 PM PDT  © Martin Tůma, Jakub Skokan / BoysPlayNice
 © Martin Tůma, Jakub Skokan / BoysPlayNice From the architect. The ŠTAJNHAUS has not been a project, the ŠTAJNHAUS has been a process. This house with a Renaissance core stands right at the foot of the chateau hill, in the former Jewish quarter of Mikulov (a. k. a. Nikolsburg). Throughout its existence, it has suffered a great many scars, it has gone through tens of reconstructions and operations. All of this have altered the house beyond recognition. Yet it has maintained its almost medieval picturesqueness.  Location Plan We came to a "pudding stone". The more individual layers, spaces and surprising circumstances we uncovered, the more revisions and alterations our project we had to make in our project; and this lasted, in fact, until the end of realisation. In the beginning, we did not have a clue where we would come to in the end.  © Martin Tůma, Jakub Skokan / BoysPlayNice  Ground Floor Plan  © Martin Tůma, Jakub Skokan / BoysPlayNice We were looking for a limit what time we could come back to and for a point when we should rather go on a new journey. But we still wanted to preserve the house as an organic unit. You will not find a straight wall or a rectangular opening in the house, so we had to reinvent and remake to measure all the elements, which the investor was compliant with.  Cross Section Originally, our job was just interior design. Gradually, however, we realized that the interior and exterior could not be solved separately, as the space and the shapes tend to blend together and create an indivisible unit.  © Martin Tůma, Jakub Skokan / BoysPlayNice  First Floor Plan  © Martin Tůma, Jakub Skokan / BoysPlayNice The house has been reconstructed for the needs of a guest house, a part of it will be used as a private flat of the owner. Each room is unique, each has its own specific atmosphere. And there are wine cellars under the house, which have come back to their original use.  © Martin Tůma, Jakub Skokan / BoysPlayNice  Third Floor Plan  © Martin Tůma, Jakub Skokan / BoysPlayNice  This posting includes an audio/video/photo media file: Download Now |
| Casablancka Residence / Budi Pradono Architects Posted: 20 Jun 2017 03:00 PM PDT  © Fernando Gomulya
 © Fernando Gomulya From the architect. This house is located in Kelating, Tabanan, Bali. The owner named it Casablancka. This location is only one half hours from The Ngurah Rai International Airport Bali. The new residence need to be adjusted according to the site, with slooping contour to the river and also there is existing Javanese house located close to the river.  © Fernando Gomulya Master Plan Strategy The main strategy is to apply the concept of The Balinese Architecture The tripartite divisions of zoning by developing the concept of Tri Mandala is spatial concept describing three parts of realms, from Nista Mandala - the outer and lower mundane less-sacred realm, Madya Mandala - the intermediate middle realm, to Utama Mandala - the inner and higher most important sacred realm. where on the center side is akasa or empty space or zen area. It can be used as a place to play Pétanque just like a game in France. This space becomes a communication device for the people who stay in this residence. It also represent the two different culture of the client, between west and east, between France and Indonesia.  © Fernando Gomulya The Balinese concept of Sanga Mandala consists of several separate pavilions and its placement is always set to the hierarchy of virtues and contempt also the rules of space division and zoning. The Sanga Mandala is the spatial concept concerning with directions that divide an area into nine parts according to eight main cardinal directions and central (zenith).  Ground Floor Plan  First Floor Plan The pattern of its mass composition also rely on Swastika pattern as the pattern adopted by the Balinese pattern. In Balinese traditional house normaly divided into nine compotition and also consists of several separate pavilion. This residence is the interpretation of this concept with the modern design.  © Fernando Gomulya Building Concept The concept of the building is the transformation of traditional Balinese buildings named Taring. Taring is temporary structure made of bamboo usually made by the Balinese community for special ocassion such as wedding, cremation, and etc. The important thing at the Taring concept is that the seperation between floors, walls, and roof structures. Which stand independently. But it has a special relationship, which is to be implemented in Casablancka residence.  Axonometric Interpretation of Tropicality. In this project we attempted to bring people close to the nature. Wall made as simple as possible depend on it needs. The wall made of locally available bricks, and to be arranged zig zag parallelly and put the concrete inside. It will reduce the hot weather in Bali but at the same time bring the interior into natural color tone, brick orange colour. Since the building is in tropical paradise all the building mass to be built as open as possible so all the space isactually only defined by the floating floor, so the natural wind can be enter freely.  © Fernando Gomulya Bamboo The Bamboo Structure stand independently as a structure of column and as roof supporting structure, it will allow for natural light into the building from the glass above the brick walls.  © Fernando Gomulya The floor finishes consist of two type. One is handmade grey cement color by local people. And the second one is colorful cement handmade in Java which use to be part of colonials buildings in thirties, mostly for the Dutch building.  © Fernando Gomulya The wall is a statement and also redefinition of the border between inside and outside, it contains of wall made of bricks and wall made of transparent glass. It is to connect the contemporary society with the nature.  Section AA The roof made of flattened bamboo, the mountain shape of the building is to bring the light into the each different room. It represents the relationship between the people and the sky.  © Fernando Gomulya The structure columns made of concrete and steel to bring the modern material as a combination between East and West between traditional bamboo and other industrial material.  Section BB Detail Interior Concept The Interior Concept is the transformation of a dialogue between East and West, most of the furniture use the recycled material of early 40's during the occupation of the Dutch period in Indonesia with the modern interpretation, by using soft color of blue and white fabric. and also use old wooden furniture from Java.  © Fernando Gomulya  This posting includes an audio/video/photo media file: Download Now |
| Posted: 20 Jun 2017 01:00 PM PDT  © Radhika Pandit
 © Radhika Pandit From the architect. Clean lines and angled geometry dictates the design for this 1500 sq.mt. bungalow at Ahmedabad. The architectural vocabulary integrates the principals of modernism with traditional responses to the local geography and climate.  © Radhika Pandit The design envisages the top floor as a floating white mass with and interplay of scooped hollows. In order to infuse movement and dynamism into the structure angular planes were introduced in both the horizontal and vertical dimensions. At some places this profile flows forward and lifts up to create sharp angles along certain facades while it also flows down extending to form the linear lines of the landscaped flower beds.  © Radhika Pandit In response to the harsh climatic conditions a number of passive design principles were adopted. Double walling on the first level helps insulate against the harsh summers and cold winters while offering weather protection for the glazed openings. Additionally, the first floor is cantilevered outward providing a weather shade for the ground level. Maximum glazing has been introduced along the north facade while the south and west faces have been kept impenetrable.  © Radhika Pandit The house was positioned at the southern end of the plot, away from the entry giving enough depth to perceive the structure. This also doubled up as a grand entrance with manicured lawns leading to the entrance porch.  Ground Floor Plan The habitable spaces are planned around a central courtyard enabling cross ventilation across maximum rooms. A shallow water body which wraps along one side helps cool the cross breeze thus lowering the ambient temperature and creating a comfortable micro-climate.  © Radhika Pandit Landscape was a key element considered while designing. These were used to define direction as well as connect the landscape with the built structure. Strategic placement of trees along the fringe of the double height spaces enabled sun shading & cooling along with a thick plantation along the periphery of the plot to maintain privacy from neighbors.  Section  Section The material palette was chosen to complement and lend to the elegant clean lines of the structure. Wood cladding to bring warmth to the ground level and white paint finish to lend a lightness to the first level.  © Radhika Pandit  This posting includes an audio/video/photo media file: Download Now |
| Posted: 20 Jun 2017 12:00 PM PDT  © CI&A Photography – Edward Hendricks
 © CI&A Photography – Edward Hendricks From the architect. GO, GO, MR. ROBOTO MOD was commissioned to design the branding and spatial experience for RACE, a new robotic facility aimed at educating, and introducing robots into automating existing manufacturing industries. RACE intended to also feature a series of interchangeable modular robots as a key unique proposition.  © CI&A Photography – Edward Hendricks BRANDING Inspired by the concept of modularity, and influenced by aesthetics of precision and dynamism; the logotype is an expression of a complete form comprised of individual standalone parts.  © CI&A Photography – Edward Hendricks SPATIAL EXPERIENCE The brief for the laboratory space required flexibility to showcase a changing series of modular robots as well as be used for hands-on training and lectures. The laboratory needed to be a continuous open space, yet conducive for small clusters for hands-on training. Underpinning this brief, MOD also sought to create an engaging and future-forward spatial experience that denotes the idea of industrial automation and precision.  © CI&A Photography – Edward Hendricks Upon arrival at the lift lobby, a vivid prelude to the laboratory space greets the viewer. A web of soaring white lines cut through the black space to create an anamorphic experience to disorient the floor from the ceiling. From the black envelope of the lift lobby, a custom oversized door pivots open to reveal a dramatic metallic faceted space, creating a contrast that is at once striking yet complementary.  Diagram For maximum flexibility to the space, MOD introduced a "second" skin - developed to seamlessly create a dynamic space by deconstructing the ceiling and wall planes into an array of dazzling facets. Each facet comprises stacked layers of hand-cut aluminium hollow tubing; rotating the direction of the tubes with every facet to create a bold multi-directional effect. The aluminium screen cladding also serves to cloak the necessary but unsightly mechanical and electrical services while allowing ease of access for operation. This skin was shaped in plan with enclaves for small group work clusters accompanied by separate access hatches to the services behind. The random sprinkle of custom LED strips serves to highlight the multi- directional panels with a cutting-edge aesthetic. Overall, the space provides a suitable future-forward backdrop to usher in an age of automation and robotics.  © CI&A Photography – Edward Hendricks  This posting includes an audio/video/photo media file: Download Now |
| Switchback House / Edmonds + Lee Architects Posted: 20 Jun 2017 10:00 AM PDT  Courtesy of Edmonds + Lee Architects
 Courtesy of Edmonds + Lee Architects From the architect. For their own house, partners Vivian Lee and Robert Edmonds had the peculiar luxury of extraordinary insight into San Francisco's permitting process, 24/7 access to each other for discussions of ideal rebar and the best window frames, and the particular freedom that comes from being experienced architects finally doing their own— dream—house.  Courtesy of Edmonds + Lee Architects  Plans  Courtesy of Edmonds + Lee Architects Practically, the pair, who have two children, needed (at least) three bedrooms and enough living space for their family to feel perfectly situated: close enough that their now-youngish children didn't have to be sidelined into a basement or attic, but ultimately spacious enough that as they do grow up, they can become independent - from each other, and from their parents. Edmonds + Lee also decided to divide their building into two units, making use of Lee's development expertise combined with Edmonds' architectural focus. The lower floor can be—and currently is used as—an income-producing rental, but the house is designed flexibly enough that the owners can turn the structure back into a single-family home. Working as not only their own clients but also their own developers, they were able to avoid the typical market-driven pressure of maximizing square feet and instead focus on qualitative issues. As a result, they were able to work creatively—by flipping the plan to place the living room on the top floor and bedrooms on the lower level— to bring to life the feeling of loft-style living that they wanted, without giving up the intimate neighborhood feel of their immediate surroundings.  Courtesy of Edmonds + Lee Architects Because much of Edmonds + Lee's practice is centered around multifamily buildings, the architects celebrated the urban density this project brings to the street. While it can feel compelling for those who have the resources to do so to try and insulate themselves from San Francisco, to use zoning and architecture to protect themselves and their families from the possible encroachment of an ever-densifying city, Edmonds and Lee wanted to celebrate the density, while still creating an interior space that feels light, airy, spacious, and open to the sky.  Courtesy of Edmonds + Lee Architects Their familiarity with common architectural constraints led to an ease of priority: the guardrails are simple drywall, the stair is painted steel, and much of the house's detailing made creative use of everyday materials. The facade is built from a rhythmic display of pre-manufactured trim boards; the sinks are molded Corian; and and the architects undertook the ultimate Ikea Hack: measuring the standard size of the big-box retailer's shelving, and building closet spaces to fit to the centimeter, creating a custom millwork-level aesthetic for a fraction of the price. And that's central to the magic of the house; it was built by people who really do live within a budget, who had a vested interested in building within that budget, who experience financial as well as design constraints, but who embraced and celebrated these limitations and used them to give rise to incredibly creative and aesthetically compelling solutions. Working on Switchback reminded Edmonds and Lee of their time at Columbia as it became almost like a school project, part unshakable rules, and equal part unshakable excitement for pushing the envelope wherever it can be furthered.  Courtesy of Edmonds + Lee Architects  This posting includes an audio/video/photo media file: Download Now |
| 7 Firms Reveal Plans for Los Angeles River Revitalization Posted: 20 Jun 2017 09:15 AM PDT  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from WSP The City of Los Angeles has revealed preliminary designs for seven different downtown segments of the Los Angeles River revitalization master plan, envisioned by Gruen Associates, WSP, CH2M, Chee Salette, Mia Lehrer + Associates, AECOM, and Tetra Tech. The project, known as the LA River Downtown Design Dialogue, asked designers to create potential schemes for development of the Downtown Corridor that "focus on interventions to improve connectivity and access to the river" and "imagine how to achieve function while embracing bold, world-class design," while integrating in river adjacent projects currently in development, such as BIG's 670 Mesquite.  LA River Downtown Design Dialogue (3D) Map. Courtesy of Bureau of Engineering, Mayor's Office of City Services Each of the seven firms were given a different section of the river:
Gruen Associates: Barclay to Spring St. From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from Gruen Associates  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from Gruen Associates  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from Gruen Associates  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from Gruen Associates  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from Gruen Associates  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from Gruen Associates WSP: Spring St. to Cesar Chavez Ave. From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from WSP  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from WSP  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from WSP CH2M: Cesar Chavez Ave. to 1st St. From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from CH2M  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from CH2M  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from CH2M Chee Salette: 1st St. to 4th St. From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from Chee Salette  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from Chee Salette  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from Chee Salette  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from Chee Salette  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from Chee Salette  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from Chee Salette  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from Chee Salette  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from Chee Salette  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from Chee Salette Mia Lehrer + Associates: 4th St. to 7th St. From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from Mia Lehrer + Associates  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from WSP  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from Mia Lehrer + Associates AECOM: 7th St. to Olympic Blvd. From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from AECOM  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from AECOM  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from AECOM  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from AECOM  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from AECOM  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from AECOM Tetra Tech: Olympic Blvd. to 26th St. From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from Tetra Tech  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from Tetra Tech  From the Los Angeles River Downtown Design Dialogue (City of Los Angeles, Bureau of Engineering). Used by Permission from Tetra Tech For now, the proposals are being regarded by the city as potential future projects, with a budget for their realization yet to be determined. Learn more about the LA River Design Dialogue here.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 20 Jun 2017 08:00 AM PDT  © Marcus Bredt
 © Marcus Bredt From the architect. Countryside or city? This question was asked on several occasions during the protracted and changeable planning history of the new sports and leisure pool in Potsdam. And even when a citizen's opinion poll finally swung the pendulum towards the central location at the foot of the Brauhausberg hill even though, previously, a location "on virgin land" had been preferred, the dominant urban design motif for this location remained ambivalent. The decision in favor of a decidedly urban concept was finally made via the 2013 architectural competition.  Site Plan Sketch The competition was won by gmp with a design featuring clear layout lines, a logical orientation of the interior and exterior spaces, and deliberate visual references to the closer and more distant surroundings. The neighboring urban areas referenced in the architecture of the pool complex are only just being created at the time of the complex's opening, such as the open space axis with the forecourt to the east – which is part of the project – and the pool's lawn for sunbathing at the rear. The same applies to the development of the Speicherstadt quarter, which will be created to the north following the curved building line of the entrance facade, and to the planned additional development section to the south.  © Marcus Bredt  First Floor Plan  © Marcus Bredt The sports pool, leisure pool, and wellness area are all located within a nearly square building with about 8,000 m2 usable floor area. The two large zones of the sports pool and the leisure area are separated by two enclosed volumes for the service and changing room areas, which are divided by the central concourse that runs east to west. This layout ensures that the orientation at every point within the complex is very clear, and that all functions are accessed via short routes and can be operated independently of each other.  © Marcus Bredt The spacious arrangement of the leisure pool lies to the west, while the sports pool complex with 50 m pool for water polo and competitive swimming faces towards the east. The wellness area is located in the upper- most story and is visually shielded, offering just a few specific views to the outside. The closed facade areas, which – like a meandering ribbon – enclose the building, have been finished uniformly with a robust mineral- based "natural" render. The services installations have also been incorporated in the building complex so that no additional structures on the roof interfere with the fifth facade that can be seen from the Brauhausberg hill.  © Marcus Bredt  This posting includes an audio/video/photo media file: Download Now |
| Adjaye, BIG, Sou Fujimoto and 4 Other Teams Reveal Proposals for Edinburgh's Ross Pavilion Posted: 20 Jun 2017 07:15 AM PDT Detailed visions of the concept designs from the seven shortlisted teams in the running for the new Ross Pavilion (named for William Henry Ross, the former chairman of the Distillers Company) have been released. Following the announcement of the competition earlier this year—in which the likes of Adjaye Associates, Bjarke Ingels Group, Sou Fujimoto Architects and Reiulf Ramstad Arkitekter were placed in the running alongside local practices, such as Page\Park—the sensitivity and level of restraint behind the majority of the proposals demonstrates the public and national significance of the site, which sits at the heart of the Scottish capital of Edinburgh. The location for the pavilion, which is currently occupied by the Ross Bandstand, has been described by the competition organizers as "a true 'place for people'. For much of the year," they continue, it is "a tranquil haven," – but "it is also the seasonal focus for some of Scotland's most high-profile events and celebrations, notably Hogmanay and the Edinburgh International Festival's closing reworks concert." The shortlisted teams are:
Adjaye Associates  Adjaye Associates with Morgan McDonnell, BuroHappold Engineering, Plan A Consultants, JLL, Turley, Arup, Sandy Brown, Charcoalblue, AOC Archaeology, Studio LR, FMDC, Interserve and Thomas & Adamson. Image © Malcolm Reading Consultants / Adjaye Associates  Adjaye Associates with Morgan McDonnell, BuroHappold Engineering, Plan A Consultants, JLL, Turley, Arup, Sandy Brown, Charcoalblue, AOC Archaeology, Studio LR, FMDC, Interserve and Thomas & Adamson. Image © Malcolm Reading Consultants / Adjaye Associates  Adjaye Associates with Morgan McDonnell, BuroHappold Engineering, Plan A Consultants, JLL, Turley, Arup, Sandy Brown, Charcoalblue, AOC Archaeology, Studio LR, FMDC, Interserve and Thomas & Adamson. Image © Malcolm Reading Consultants / Adjaye Associates Bjarke Ingels Group Bjarke Ingels Group (BIG) with JM Architects, WSP Parsons Brinckerho , GROSS.MAX., Charcoalblue, Speirs + Major, JLL, Alan Baxter and People Friendly. Image © Malcolm Reading Consultants / Bjarke Ingels Group (BIG)  Bjarke Ingels Group (BIG) with JM Architects, WSP Parsons Brinckerho , GROSS.MAX., Charcoalblue, Speirs + Major, JLL, Alan Baxter and People Friendly. Image © Malcolm Reading Consultants / Bjarke Ingels Group (BIG)  Bjarke Ingels Group (BIG) with JM Architects, WSP Parsons Brinckerho , GROSS.MAX., Charcoalblue, Speirs + Major, JLL, Alan Baxter and People Friendly. Image © Malcolm Reading Consultants / Bjarke Ingels Group (BIG)  Bjarke Ingels Group (BIG) with JM Architects, WSP Parsons Brinckerho , GROSS.MAX., Charcoalblue, Speirs + Major, JLL, Alan Baxter and People Friendly. Image © Malcolm Reading Consultants / Bjarke Ingels Group (BIG) Flanagan Lawrence Flanagan Lawrence with Gillespies, Expedition Engineering, JLL, Arup and Alan Baxter. Image © Malcolm Reading Consultants / Flanagan Lawrence  Flanagan Lawrence with Gillespies, Expedition Engineering, JLL, Arup and Alan Baxter. Image © Malcolm Reading Consultants / Flanagan Lawrence  Flanagan Lawrence with Gillespies, Expedition Engineering, JLL, Arup and Alan Baxter. Image © Malcolm Reading Consultants / Flanagan Lawrence  Flanagan Lawrence with Gillespies, Expedition Engineering, JLL, Arup and Alan Baxter. Image © Malcolm Reading Consultants / Flanagan Lawrence Page\Park, West 8 and BuroHappold Page \ Park Architects, West 8 Landscape Architects and BuroHappold Engineering with Charcoalblue and Muir Smith Evans. Image © Malcolm Reading Consultants / Page \ Park Architects  Page \ Park Architects, West 8 Landscape Architects and BuroHappold Engineering with Charcoalblue and Muir Smith Evans. Image © Malcolm Reading Consultants / Page \ Park Architects  Page \ Park Architects, West 8 Landscape Architects and BuroHappold Engineering with Charcoalblue and Muir Smith Evans. Image © Malcolm Reading Consultants / Page \ Park Architects  Page \ Park Architects, West 8 Landscape Architects and BuroHappold Engineering with Charcoalblue and Muir Smith Evans. Image © Malcolm Reading Consultants / Page \ Park Architects Reiulf Ramstad Arkitekter Reiulf Ramstad Arkitekter with GROSS.MAX., AECOM, Charcoalblue, Groves-Raines Architects and Forbes Massie Studio. Image © Malcolm Reading Consultants / Reiulf Ramstad Arkitekter / Forbes Massie Studio  Reiulf Ramstad Arkitekter with GROSS.MAX., AECOM, Charcoalblue, Groves-Raines Architects and Forbes Massie Studio. Image © Malcolm Reading Consultants / Reiulf Ramstad Arkitekter / Forbes Massie Studio  Reiulf Ramstad Arkitekter with GROSS.MAX., AECOM, Charcoalblue, Groves-Raines Architects and Forbes Massie Studio. Image © Malcolm Reading Consultants / Reiulf Ramstad Arkitekter / Forbes Massie Studio  Reiulf Ramstad Arkitekter with GROSS.MAX., AECOM, Charcoalblue, Groves-Raines Architects and Forbes Massie Studio. Image © Malcolm Reading Consultants / Reiulf Ramstad Arkitekter / Forbes Massie Studio wHY, GRAS, Groves-Raines Architects, Arup, Studio Yann Kersalé, O Street, Stuco, Creative Concern, Noel Kingsbury, Atelier Ten and Lawrence Bart wHY, GRAS, Groves-Raines Architects, Arup, Studio Yann Kersalé, O Street, Stuco, Creative Concern, Noel Kingsbury, Atelier Ten and Lawrence Barth with Alan Cumming, Aaron Hicklin, Beatrice Colin, Peter Ross, Alison Watson and Adrian Turpin. Image © Malcolm Reading Consultants / wHY  wHY, GRAS, Groves-Raines Architects, Arup, Studio Yann Kersalé, O Street, Stuco, Creative Concern, Noel Kingsbury, Atelier Ten and Lawrence Barth with Alan Cumming, Aaron Hicklin, Beatrice Colin, Peter Ross, Alison Watson and Adrian Turpin. Image © Malcolm Reading Consultants / wHY  wHY, GRAS, Groves-Raines Architects, Arup, Studio Yann Kersalé, O Street, Stuco, Creative Concern, Noel Kingsbury, Atelier Ten and Lawrence Barth with Alan Cumming, Aaron Hicklin, Beatrice Colin, Peter Ross, Alison Watson and Adrian Turpin . Image © Malcolm Reading Consultants / wHY  wHY, GRAS, Groves-Raines Architects, Arup, Studio Yann Kersalé, O Street, Stuco, Creative Concern, Noel Kingsbury, Atelier Ten and Lawrence Barth with Alan Cumming, Aaron Hicklin, Beatrice Colin, Peter Ross, Alison Watson and Adrian Turpin. Image © Malcolm Reading Consultants / wHY William Matthews Associates and Sou Fujimoto Architects William Matthews Associates and Sou Fujimoto Architects with BuroHappold Engineering, GROSS.MAX., Purcell and Scott Hobbs Planning. Image © Malcolm Reading Consultants / William Matthews Associates and Sou Fujimoto Architects  William Matthews Associates and Sou Fujimoto Architects with BuroHappold Engineering, GROSS.MAX., Purcell and Scott Hobbs Planning. Image © Malcolm Reading Consultants / William Matthews Associates and Sou Fujimoto Architects  Shortlisted proposal: William Matthews Associates and Sou Fujimoto Architects with BuroHappold Engineering, GROSS.MAX., Purcell and Scott Hobbs Planning. Image © Malcolm Reading Consultants / William Matthews Associates and Sou Fujimoto Architects  William Matthews Associates and Sou Fujimoto Architects with BuroHappold Engineering, GROSS.MAX., Purcell and Scott Hobbs Planning. Image © Malcolm Reading Consultants / William Matthews Associates and Sou Fujimoto Architects  This posting includes an audio/video/photo media file: Download Now |
| FULTON – A5 A1 / Agence Bernard Bühler Posted: 20 Jun 2017 06:00 AM PDT  © Sergio Grazia
 © Sergio Grazia  © Sergio Grazia From the architect. ICF La Sablière owns the Fulton block, located in the 13th arrondissement of Paris, on the banks of the Seine. The existing real estate complex known as "Fulton" was built in the 1950s by architect Daniel Michelin and is occupied by 133 dwellings. The site benefits from a very beautiful location, clear, in front of the seine, near the bridge of Bercy in the East and the museum of fashion and design at the West, a contemporary building realized by the architects Jakob + Macfarlane.  © Sergio Grazia The building is located on the Quai d'Austerlitz and marks the corner of Fulton and Bellièvre streets. The operation comprises 87 social housing units, 2 shops on the ground floor, 30 parking spaces in the basement and a garden in the heart of the lot. The garden marks between the two towers a breach enter the East / West, based on the urban study, and is extended by a set of terraces until the RDC.  Diagram The operation is consists of a base superimposed by two towers of 11 floors separated by an urban breach. This plinth consolidating the project an a way alive along the Quai d'Austerlitz thanks to the presence of a projecting large commercial showcase. This screen offers a good visibility to the activities that it welcomes. This block to be extricating itself from the concrete base. It thus creates two accesses to the shops in continuity of a wide pedestrian area.  © Sergio Grazia The operation is part of a logic of strong urban structuring. The two towers of flats mark the corners of Fulton / Bellièvre streets with the Quai d'Austerlitz. On the other hand, these two emergences are separated by a void that seems to be dug between the buildings. The breach created offers a perspective from the heart of the parcel to the Seine and, conversely, from the Quai d'Austerlitz, it gives to read the third floor landscape and vegetated depth of the Fulton block.  Ground Floor Plan From the outside, the dwellings are defined by generous balconies oriented towards the Seine that wind in the fault around the 2 buildings. Thus, each accommodation offers a view of the Seine but also on the garden in "heart of ilot". The double or triple-oriented units provide luminous quality and a significant amount of solar energy for the comfort of use.  © Sergio Grazia The railing of the balconies are in dichroic glass. That is to say that depending on the orientation, the angle of view, a color will appear appearing from blue to yellow, going through the green. The particularity of this glazing also allows to protect the interior of the balconies. Thus, the tenant may be on his balcony without being seen, protected by the color of the glazing.  This posting includes an audio/video/photo media file: Download Now |
| Foster + Partners Reveal Updated Designs for Intermodal Transportation Hub in Spain Posted: 20 Jun 2017 05:15 AM PDT  © Foster + Partners Foster + Partners and Juan Cabanelas have unveiled updated designs for the refurbishment and extension of the Ourense FFCC Station in Galicia, Spain. The firm was originally selected as the winners of an international competition for the design in 2011 with an expansive new structure spanning the tracks. The new scheme will instead utilize the existing station building, expanding with a series of columned canopies arranged to create a new urban square and easily-accessible multi-modal hub.  © Foster + Partners The integrated design will join the high-speed rail and nearby bus station (also currently under design) into one single urban intervention, as well as create pedestrian connections between the neighborhoods on either side of the tracks through an elevated walkway and new public park. The station will accommodate the increase in passengers generated by ongoing upgrades to the region's high-speed rail lines, offering cafes and shops that will cater to travellers and locals alike. The modular canopy system will be made up of concrete plates on slender columns, designed to provide shelter from the city's high-temperature, high-precipitation climate and to allow for ease of future growth. The color of the concrete will be matched to the granite found in the existing station, creating harmony between the new and the old. In front of the building, a new water feature inspired by Ourense's famous hot water springs will welcome passengers into the city.  © Foster + Partners Inside, the main lobby has been transformed into a triple-height space that will provide an abundance of natural light and historic frescos on the upper walls will be restored. Circulation through the station has been simplified to provide a more intuitive route for passengers, with clear sightlines connecting the check-in area with the platforms. An internal link will provide a direct connection to the bus station to the west, providing an easy path between transportation systems. News via Foster + Partners.
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| Muraba Residences / RCR Arquitectes Posted: 20 Jun 2017 04:00 AM PDT  © Airey Spaces
 © Airey Spaces Muraba Residences is an architectural gem set on the Estearn Crescent of the Palm Jumeirah, Dubai. Pritzker Prize 2017 laureates RCR Arquitectes designed the building, which is the first residential project they ever done.  Diagram  Diagram Consisting of 46 apartments and 4 penthouses, each of them with an open view on the Ocean right along Dubai iconic skyline, Muraba Residences was thought and realized as an artwork for living.  © Airey Spaces  Diagram  © Airey Spaces Everything was crafted to create timeless living spaces, which evolve around the human being and qualitatively improve his day-to- day experiences. Integral elements such as kitchens, lighting and wardrobes combine artisanal know-how with the most careful attention to details.  © Airey Spaces  Diagram  © Airey Spaces The holistic transition between outdoor and indoor spaces allows the surrounding nature to be seamlessly included in the building's architecture.  © Airey Spaces  © Airey Spaces Like the meaning of its name suggests, Muraba is a secure and intimate home space that embodies an ideal of essential beauty infused with serene elegance.  © Airey Spaces  © Airey Spaces  This posting includes an audio/video/photo media file: Download Now |
| Posted: 20 Jun 2017 03:30 AM PDT  Serpentine Pavilion 2017, designed by Francis Kéré. Serpentine Gallery, London (23 June – 8 October 2017) © Kéré Architecture. Image © Iwan Baan The 2017 Serpentine Pavilion, designed by Diébédo Francis Kéré (Kéré Architecture), was unveiled today in London. Conceived as a micro cosmos—"a community structure within Kensington Gardens"—the pavilion has been designed to consciously fuse cultural references from Kéré's home town of Gando in Burkino Faso, with "experimental construction techniques." The architect hopes that the pavilion, as a social condenser, "will become a beacon of light, a symbol of storytelling and togetherness." A large wooden roof, supported by a concealed steel frame, has been sculpted to mimic the canopy of a tree. Four thresholds lead into a central open courtyard, in which fresh air can circulate freely. The roof, while sheltering visitors from London's summer heat (and, fortunately, from summer rain) can, in case of rain, funnel water toward an oculus "that collects on the roof into a spectacular waterfall," before being passed through a drainage system in the floor "for later use in irrigating the nearby parkland."
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| "New(er) York" Imagines What New York's Historic Structures Would Look Like if Built Today Posted: 20 Jun 2017 02:30 AM PDT  One Wall Street, before and after. Images: left, <a href='https://commons.wikimedia.org/wiki/File:1_Wall_Street_panoramic.jpg'>Via Wikimedia</a> in public domain; right, Courtesy of Hollwich Kushner The New York Times recently reported that over 40% of the buildings on the island of Manhattan wouldn't be granted construction permits in 2017. Most of the culprits date back to the early 20th century when attitudes towards density, ceiling heights, column placement, and general living standards were different. This begs the question: what would modern iterations of New York's signature structures look like today? Billed by the practice as "an obsessive-compulsive study of the city we love" HWKN's New(er) York is a peculiar experiment that tackles this hypothetical.  The Eldorado, before and after. Images: Left, © <a href='https://www.flickr.com/photos/31018257@N00/91166448/'>Flickr user Diego Torres Silvestre</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/deed.en'>CC BY-2.0</a>, right, Courtesy of Hollwich Kushner To do this, the architecture firm set out to transform 12 landmark art deco and gothic revival buildings throughout the borough. Their process of modernization took place in four steps: first, HWKN created a highly detailed 3D model of the existing structure. Next, the building's most intricate features were removed so that only its form and proportions remained. Then, the structure's massing was reimagined to "emphasize each building's unique character." Finally, HWKN dressed the new shape in "contemporary facade techniques" to add a layer of realism to the mockups.  Hollwich Kushner's 3-stage transformation of the Chrysler Building. Image Courtesy of Hollwich Kushner Whether one finds the exercise intriguing or blasphemous, it's difficult to make the case that New(er) York is anything but a fascinating look into the personality of these projects. The original form of these art deco icons was largely shaped by New York's 1916 Zoning Law. The ordinance encouraged "wedding cake" architecture by requiring no more than 25% of a building's footprint to extrude skyward in order not to cast intrusive shadows on the street level. This fed art deco's propensity for wide pedestals and gracefully tapering towers. Because of this, HWKN's iterations tend to take on an abstracted Minecraft-esque aesthetic.  214 West 29th Street, before and after. Image Courtesy of Hollwich Kushner The final products vary greatly in recognizability, as they're intentionally devoid of the building's original embellishments—which are often the components that make these landmarks so memorable. Without their intricacies, gilding, and ornamentation, the Empire State, Woolworth, and One Wall Street buildings all resemble cubistic renditions of their source material, while 30 Rockefeller Plaza remains fairly similar to the original.  Courtesy of Hollwich Kushner While these thought-provoking renders are entertaining, some are more successful than others. The topographic tapering and trapezoidal windows of the reimagined One Wall Street are an arguable improvement over the source material, for example, but HWKN's take on the Upper East Side's Eldorado resembles a homely lovechild of 432 Park Avenue and an inverted Eames table. Below are HWKN's transformations of One Wall Street, The Eldorado, and 214 West 29th Street:  One Wall Street. Image Courtesy of Hollwich Kushner  One Wall Street. Image Courtesy of Hollwich Kushner  The Eldorado. Image Courtesy of Hollwich Kushner  The Eldorado. Image Courtesy of Hollwich Kushner  214 West 29th Street. Image Courtesy of Hollwich Kushner  214 West 29th Street. Image Courtesy of Hollwich Kushner  This posting includes an audio/video/photo media file: Download Now |
| DOC - Temporary Floating House / Lime Studio Posted: 20 Jun 2017 02:00 AM PDT  © Sabin Prodan
 © Sabin Prodan From the architect. DOC intertwines the typology of a compact house - having a low environmental impact - with the specificity of a unique location: distributary channel Borcea . The location and the desire of a new type of dwelling - a floating, multifunctional, mobile house - imposed special and complex constructive conditions.
The high water level variations of the river due to seasonal changes as well as budget conditioning have resulted in constructing a trailer like platform that can be relocated. The house is responding to site changes and changes with it. Mobility as the main feature of the construction dictated the simplicity of the designed space.  © Sabin Prodan  Floor Plan  © Sabin Prodan Compact and with a simple, rectangular plan, the space gets a spectacular feel through the manner it integrates with the location, complimenting it. Amazing images are brought in everyday use through wide windows and patio. Although very open, the pontoon provides visual intimacy from the city through its positioning.  © Sabin Prodan Its multifunctionality of temporary housing and meeting point for water sports lovers opens up new perspectives and exploration angles for a forgotten and undiscovered area - the Danube river and the Calarasi area. The building process began taking into consideration the context, location and community by harnessing an existing and abandoned pontoon that has been adapted to current needs.
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| 6 Timeless Details Using Stone Posted: 20 Jun 2017 01:00 AM PDT  Stone is elemental to our built world. It is one of the oldest (if not the oldest) materials used in man-made habitats. The sense of timelessness in stone is attributed to its long and varied history alongside architecture. From ancient monoliths to cities to houses, the diversity of stone means that it can be used to convey a variety of expressions. Carved, polished, sedimented, stacked, preserved - the list can go on and on. The feeling stone conveys in contemporary projects usually brings with it a sense of place – a raw materiality when paired with timber or other natural materials. With that in mind, check out these 6 details of projects that stand out for their use of stone: 01. Villanueva's Public Library / Meza + Piñol + Ramírez + Torres via © Alejandro Piñol, Germán Ramírez, Miguel Torres, Carlos Meza 02. House in Blacksod Bay / Tierney Haines Architects via © Tierney Haines Architects 03. Country House Fundo El Guindo / Iván Vial Montero via © Iván Vial Montero 04. Link House / Juan Pablo Gonda via Juan Pablo Gondar 05. Environmental Interpretation Centre in São Jorge Island / Ana Laura Vasconcelos via © Ana Laura Vasconcelos 06. Ermita del Santo Sepulcro Rehabilitation / Héctor Fernández Elorza + Manuel Fernández Ramírez via Héctor Fernández Elorza + Manuel Fernández Ramírez  This posting includes an audio/video/photo media file: Download Now |
| Powerhouse Wins Competition to Build New Urban Plaza in Eindhoven Posted: 19 Jun 2017 11:00 PM PDT  © Powerhouse Company Powerhouse Company have won a competition to create a new mixed-use hub in Eindhoven, Netherlands. For the competition, Powerhouse teamed up with landscape architects ZUS and developer Amvest to design a trio of skyscrapers forming the winning proposal for a new urban plaza, called "District E". The 70,000 square meter proposal will be located next to Eindhoven Station.
 © Powerhouse Company Three tall towers collect in corresponding plinths, ranging from 76 to 158 meters in height. The towers will combine a residential program of approximately 450 homes, 20 percent of which will be social housing. A mixture of public amenities will be added, ranging from a hotel, shops/restaurants, a student study center and exhibition spaces. District E's new "city plaza" aims to balance the 17th-century buildings from the old Eindhoven center alongside the large-scale 20th-century projects near the railway.  © Powerhouse Company Powerhouse described the use of the plinths as a tool for the skyscrapers to be set back, ensuring that "Eindhoven station, a national monument, is honored by giving it space and relating to its scale." A diagonal axis within the new urban plaza is another key element to the design, as described by Powerhouse:
 © ZUS  © Powerhouse Company With offices in Rotterdam, Beijing, and Munich, the architecture office has a portfolio of mixed-use projects including inSports Beijing to the Maastricht Pathé theater. The firm also beat out a bevy of heavyweight contenders in 2014 with their competition-winning proposal of a 100m observation tower in Çanakkale, Turkey. News via: Powerhouse.
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