Arch Daily |
- Villa in Messinia / MGXM Architects
- Bayonne Marinadour / Mateo Arquitectura
- House in Sangenjaya / Schemata Architects
- Mirroring the Flatness of a Calm River: Cheongvogl Win Seoul Ferry Terminal Competition
- KPF Advances Growth of Boston Seaport with Towered Mixed-Use Building
- 15 Renwick / ODA New York
- Spotlight: Benedetta Tagliabue
- This Sketchup Plugin Designs Structures Made From Plastic Bottles and 3D-Printed Joints
- Pantone Apartament / AR Arquitetos
- This Magnetic Drill Screws Through Wood Leaving No Visible Holes
- Belsky House / SO Architecture
| Villa in Messinia / MGXM Architects Posted: 24 Jun 2017 10:00 PM PDT  © Panagiotis Voumvakis
 © Panagiotis Voumvakis From the architect. The residence is situated on a foothill in small distance from the coast on the west side of the Messinian Gulf. The building comprises of two volumes which are linked via a patio which functions as a living area during the summer. The long length swimming pool is situated in a continuation of this space. The building is laid out in such a way that upon entering, the user is presented with a frame of the infinity pool, a strip of sea and the pyramid of Taygetus Mountain beyond.  © Panagiotis Voumvakis This harmonious sequence is also highlighted by an according use of materials. The same marble has paved the "square" before the entrance and the patio, then surrounds the pool ending to a waterfall at its end towards the sea.  © Panagiotis Voumvakis Respectively, natural materials of Peloponnese were used for the building such as marble and stone, while supreme white dominates the walls, reflecting the lights and highlighting the juxtaposition of the materials.  © Panagiotis Voumvakis The main residence comprises of two storeys with the living areas at ground level and a comfortable bedroom on the first floor. Large openings on both levels maintain a sensation of open space throughout the residence's interior.  Floor Plan Level 0 On the first floor, the master bedroom's en suite bathroom resembles a wooden cube placed centrally in the bedroom with part of it visible along the ascending staircase.  © Panagiotis Voumvakis One of the most significant expectation of the clients was the use of natural local materials. Argolis Marble (Lygourio Dark from the Quarry of Marmyk Iliopoulos) is chosen to become the main material of the building as it is used widely in the project, from stone blocks at the facade until little tiles in the bathroom walls. Big scale marble tiles are used to cover the floors in a polished or a matte or a grip finish according to each area. The same marble is also used inside the house in bigger scale at the living areas and small tiles inside the bathrooms. In order to highlight the building's main axis the same marble has paved the "square" before the entrance and the patio, then enters and surrounds the pool ending to a waterfall at its end towards the sea.  © Panagiotis Voumvakis  This posting includes an audio/video/photo media file: Download Now |
| Bayonne Marinadour / Mateo Arquitectura Posted: 24 Jun 2017 07:00 PM PDT  © Luc Boegly
 © Adrià Goula "Bayonne Marinadour is the first intervention to be completed in a complex of actions marking the new entrance to the city of Bayonne.  © Adrià Goula The other elements are a park produced by remodelling the approach road to Henri Grenet Bridge and, overlooking it, the built complex of Rivadour.  © Adrià Goula These pieces establish synergies and interrelations, forming a unitary urban complex at the gateway to the historic city.  © Luc Boegly Bayonne Marinadour is an exercise that involves adapting a significant degree of urban density and organizing a complex mixed brief.  Model The volume addresses the extreme density of the brief, arranging the masses around two landscaped courtyards, creating an interplay in height and in full-empty relations to generate the best possible con- ditions in the shared spaces.  © Adrià Goula Large urban windows open up the courtyards to the outside, to the sun and the river.  © Luc Boegly In section, the project segregates the various uses in different layers: a car park and a shopping centre form the base. Above, independent, are dwellings of multiple types and conditions that vary in floor plan to adapt and optimize the relation with the exterior.  © Adrià Goula The envelopes also follow this logic: the south and east façades, which are most exposed to traffic, are protected from noise by double glazing that formalizes a conservatory terrace with high energy rating.  © Adrià Goula To the west, the volume is broken down and its envelopes are reflective metal: we have to let light and air into the courtyard. On the river side, the horizontal of the terraces follows the geometry of the water.  This morphological and volumetric complexity speak of the desire to adapt to the context, and also of the desire to reduce the urban impact of this high built density."  © Adrià Goula  This posting includes an audio/video/photo media file: Download Now |
| House in Sangenjaya / Schemata Architects Posted: 24 Jun 2017 01:00 PM PDT  © Kenta Hasegawa
 © Kenta Hasegawa From the architect. There is a dead-end street sandwiched between two mid-rise buildings at a three-minute walking distance from Sangenjaya station. Peeking into the narrow street, one finds the space suddenly opens up to the sky and the 52-year old building quietly standing at the dead-end. Our client's grandfather had been using the building as his clinic and a private house for his family for a long time, before the client inherited it and asked us to do the renovation.  © Kenta Hasegawa Considering its location in the city, a reasonable decision would be to build a new tenant building or rental apartment building with an increased floor area, but the client wished to keep the existing building, which had been loved by the local residents for a long time, rather than prioritizing business profits.  © Kenta Hasegawa  First Floor Plan  © Kenta Hasegawa We started out with preserving the structure and making plans to generate new activities there, with an aim to eventually "foster" a place loved by the community again. Since the client wanted to invite many friends to the new house, we placed a small gallery (to be operated by the client himself) at the southwest corner on the first floor and his house on the second floor, and connected both spaces. We also decided that the remaining space on the first floor would be rented out to a tenant, hoping that the space will mediate between the building and the city and all the activities inside will extend beyond and synchronize with urban activities.  Section Since the center of Tokyo used to have more spaces 52 years ago, spaces in this building were planned generously; half of the second floor is a spacious balcony where you can experience an open feeling under the urban sky. The balcony and the connecting doma (meaning an "earth space" in Japanese) mediate between the public zone (tenant space and gallery) on the first floor and the private space (house) on the second floor, connecting all activities to generate lively interactions in daily life.  © Kenta Hasegawa  © Kenta Hasegawa The distinct charm of the 52-year old structure was kept as much as possible; the exposed exterior facades are kept as they are, while all infrastructure is encased in the service core finished with painted plasterboard. The infrastructure branches out from the main core and runs through the plenum above the painted ceiling above doma, under the raised floor and behind the painted walls to serve the public and private zones.  © Kenta Hasegawa  This posting includes an audio/video/photo media file: Download Now |
| Mirroring the Flatness of a Calm River: Cheongvogl Win Seoul Ferry Terminal Competition Posted: 24 Jun 2017 09:00 AM PDT  Courtesy of CHEUNGVOGL Hong Kong based architecture firm Cheongvogl has won an international competition to build the Yeoui-Naru Ferry Terminal in Seoul, South Korea. Founded by Judy Cheung and Christoph Vogl in 2008, the international practice aspires to "touch human hearts with poetic senses" through their projects. With that in mind, their winning design impressed an illustrious jury including architects Ryue Nishizawa (SANAA, Nishizawa, and Associates) and Alejandro Zaera Polo of APML. Using an approach called "Poetic Pragmatism" – the design aims to enhance the flatness and monochrome characteristics of the Han River site through its architecture. The masterplan connects the entire design to the city's existing infrastructure while creating a sense of place along the riverbank.
 Courtesy of CHEUNGVOGL  Courtesy of CHEUNGVOGL The Yeoui-Naru Ferry Terminal is a single story with a height of 5m, "forming a thin line following the river flow." The decision to extend the terminal using only one floor maximizes efficiency by spreading the facilities over a greater area. Its slender footprint will provide spaces for up to seven 700 tons vessels to berth at the same time, as well as 20 private boats, tour boats, and transport vessels.  Courtesy of CHEUNGVOGL  Courtesy of CHEUNGVOGL The wavy character of the terminal is optimized for maneuvering vessels, and its location away from the shoreline enhances the experience of "walking on Han River." The continuous, undulating roof that shelters the Yeoui-Naru Ferry Terminal and marina corresponds with the flow of the river and "creates a poetic interpretation of Yeoui-Naru symbolic identity." Views of the river and city are framed from openings within the roof design.  Courtesy of CHEUNGVOGL  Courtesy of CHEUNGVOGL  Courtesy of CHEUNGVOGL Timber cladding and lightweight steel frames make up the principal structure of the Yeoui-Naru Ferry Terminal. Instead of using balustrades, a metal mesh will enclose the periphery of the marina creating an "almost invisible curtain" effect. The use of a semi-transparent mesh disintegrates the threshold between river and pier, as described by Cheongvogl:  Courtesy of CHEUNGVOGL  Courtesy of CHEUNGVOGL
 Courtesy of CHEUNGVOGL The terminal and marina facilities will be connected to the Yeoui-Naru Station via a link bridge, which provides a barrier-free connection to the new development and public transportation facilities.  Courtesy of CHEUNGVOGL Further built additions to the masterplan include a Yeouijeong (Pier Deck) and a cultural center. The pier deck, following the terminal, will also be one-storey. An open timber structure with shutters facing the terminal and marina facilities, it is conceptualized as a market hall typology with cafes/restaurants in flexible enclosed, open and semi-open spaces. The enclosures are temporary flexible structures, prepared for any future expansions and changes while being cost-effective to secure, maintain and replace due to flooding. The 8,500 sqm rooftop of the Yeouijeong will be a vast observation platform, overseeing the Han River and the marina facilities. The 4-storey landmark "Ari Cultural Center," to be located on the southeast corner of the masterplan aims to be "a strong anchor point to connect the entire cultural development with the urban grain." The project is anticipated to be completed in 2019.
News via: Cheongvogl
 This posting includes an audio/video/photo media file: Download Now |
| KPF Advances Growth of Boston Seaport with Towered Mixed-Use Building Posted: 24 Jun 2017 07:00 AM PDT  Courtesy of KPF Echelon Seaport, a mixed-used development designed by Kohn Pedersen Fox (KPF) and CBT Architects, will join the growing number of buildings and public spaces slated to revitalize the Boston Seaport neighborhood in the coming decade. The 1.3 million square foot property will accompany projects such as OMA's 88 Seaport and developments by James Corner Field Operations, Sasaki, and NADAAA. Due to its accessibility to the Boston Harbor, the area has historically been known as a space for industrial and commercial use. Factors such as proximity to Boston's downtown have spurred developments such as the Echelon Seaport that aim to introduce residential living into the fabric of the neighborhood. Developed by Cottonwood Management, the project will feature 733 residential condominiums along with 125,000 square feet of publicly accessible restaurants and retail.  Courtesy of KPF The development is broken into three towers of differing heights in order to create visual interest. To further that design initiative, the facade of the building is a mixture of glass and masonry. According to the architects, the focus on a diversified aesthetic is a nod to the collection of styles and materials that make up Boston's current skyline.
 Courtesy of KPF Integral to the design is the something currently lacking in the neighborhood-- public space. Looking towards the future of Seaport, the architects identified the need for a dynamic urban streetscape that encourages civic interaction. The point where the three towers meet forms a central courtyard that features multi-level retail space connected through passageways and a bridge.  Courtesy of KPF Renderings of the project show both the large-scale connections between towers and the smaller layered connections of the retail and public spaces. The renderings also detail the additional exterior space in the building such as sun decks, terraces, and pools that are designated for the private residences.  Courtesy of KPF
Pre-construction for Echelon Seaport began in March 2017 and is on track for final completion in 2020. News via: Cottonwood Management.
 This posting includes an audio/video/photo media file: Download Now |
| Posted: 24 Jun 2017 06:00 AM PDT  © Frank Oudeman
 © Frank Oudeman From the architect. Tucked between Spring and Canal in New York City's recently rezoned Hudson Square, Renwick Street is a rare blip on the vast urban grid: a small, single-block residential enclave, whose self-generated hush recalls the era of a much more intimate Manhattan.  Diagram That scale and setting—and the historical memory they evoke—were the contextual cues for ODA New York's newest completed multifamily. At 15 Renwick Street, ODA bucks the contemporary trend towards ultramodern—frequently hermetic—crystal towers. Instead, myriad bespoke details and ample outdoor space add up to this resolutely classic, quasi-suburban sanctuary from the surrounding bustle.  © Frank Oudeman Renwick's outdoor area, totaling 8,300 square feet, results from consummate expertise in zoning, which consistently allows ODA to flip the rulebook in its favor—to experience New York City's labyrinthine zoning code not as an inhibitor, but as a launchpad for innovation.  © Frank Oudeman Here, that innovation was delivered by way of the standard dormer rule, governing the amount of square footage that can encroach into a building's setback line. By reinterpreting the rule, ODA was able to dissect and redistribute Renwick's upper massing, opening large geometric pockets for private terraces. Meanwhile, the use of glass windows and doors to demarcate terracing creates seamless indoor-outdoor connectivity, and ideal sun exposure.  11th Floor Plan In these ways—freeing up outdoor space, opening opportunities for residents to engage with others and with the elements—ODA once again instantiates a coherent, and well-documented, mission: As increasingly crowded city-dwellers sacrifice these vital interactions for the convenience of location, the firm aims to incorporate what we've lost back into New York's upward sprawl—to restore, and improve, our quality of living.  © Frank Oudeman Indeed a concern for quality runs throughout 15 Renwick, even in its materials. On the exterior, an elegant grid of deep, charcoal-hued aluminum fins produce shadow lines to shield units from street view, amplifying privacy. And luxuriant details like wood-grained window inserts—for depth of color—and a series of ground-floor copper panels feel more like they belong to a private suburban home than any typical urban condominium.  © Frank Oudeman Inside, residents are removed even further from the urban fray. A nod to James Renwick himself—the English-American scientist and engineer for whom Renwick Street was named—interior common spaces channel the warmth and intimacy of an early British social club. Rich wood panels (mimicking Renwick's exterior fins), lush leather appointments, and Emperador marble details all feel sumptuously transportive.  © Frank Oudeman Taken together with Renwick's creatively wrought outdoor space, these elements combine to combat the cold modernism of so much contemporary construction—which tends to seal residents in nondescript boxes, up and away from each other. Towards that end, 15 Renwick is new kind of new build, rooted in ideals of the past—a fitting tribute to one of Manhattan's last quiet corners.  © Frank Oudeman  This posting includes an audio/video/photo media file: Download Now |
| Spotlight: Benedetta Tagliabue Posted: 24 Jun 2017 05:00 AM PDT  Santa Caterina Market. Image © <a href='https://www.flickr.com/photos/ligthelm/8271776325'>Flickr user ligthelm</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Benedetta Tagliabue (born 24 June 1963) is an Italian architect known for designs which are sensitive to their context and yet still experimental in their approach to forms and materials. Her diverse and complex works have marked her Barcelona-based firm EMBT as one of the most respected Spanish practices of the 21st century.  Courtesy of RIBA  Santa Caterina Market. Image © Ceramica Cumella Born in Milan, Tagliabue graduated from the Istituto Universitario di Architettura di Venezia in 1989. In the early 1990s, she married Spanish architect Enric Miralles and the pair founded their studio Miralles Tagliabue EMBT. Together, Miralles and Tagliabue designed some of the practice's most notable works, including the renovation of the Santa Caterina Market in Barcelona and the enormous edifice of the Scottish Parliament Building—a building which critic Charles Jencks described as "a kind of small city," reflecting the complexity and intricacy of the Edinburgh streets which it responds to.  Scottish Parliament Building. Image © Dave Morris Following Enric Miralles' tragically premature death in 2000, Tagliabue took over the firm as a sole director, completing the Santa Caterina market, Edinburgh Parliament and a string of other projects besides. In recent years, the firm's most striking work has perhaps been the Spanish Pavilion completed for the 2010 Shanghai Expo, a design which epitomizes their philosophy of continuing curiosity and material experimentation.  Diagonal Mar Park. Image © <a href='https://www.flickr.com/photos/oh-barcelona/6815735718'>Flickr user oh-barcelona</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> To this day, Tagliabue refers to her late husband as one of her greatest influences, and in 2011 she founded the Foundation Enric Miralles, with the mission of promoting and teaching the philosophies of inquiry and experiment that are fundamental to his legacy.  The Spanish Pavilion at the 2010 Shanghai Expo. See all the works of EMBT featured on ArchDaily via the thumbnails below, and more coverage of Benedetta Tagliabue below that: Benedetta Tagliabue to Recieve 2013 RIBA Jencks Award Benedetta Tagliabue Appointed as Newest Pritzker Prize Jury Member  This posting includes an audio/video/photo media file: Download Now |
| This Sketchup Plugin Designs Structures Made From Plastic Bottles and 3D-Printed Joints Posted: 24 Jun 2017 02:30 AM PDT  The CHI'17 Pavilion. Image © Ludwig Wilhem Wall The capabilities of personal 3D printing and fabrication are only beginning to be tested, but a new system is pushing the boundaries for feasible, structurally-sound large scale structures. Unlike other structures created by 3D printing systems, Trussfab doesn't require access to specialized equipment, nor specific engineering knowledge, to print and build large-scale structures capable of supporting human weight. The Hasso Plattner Institute in Potsdam, Germany created Trussfab as an end-to-end system allowing users to fabricate sturdy, large-scale structures using plastic bottles and 3D-printed connections, making them easy and relatively quick to construct.  A bridge designed and fabricated with Trussfab. Image © Hasso Plattner Institute Trussfab treats plastic bottles like beams, forming structurally-sound closed triangles which join together to form trusses. These trusses are the basic building blocks of any Trussfab structure. The Trussfab editor is available as a plugin to Sketchup, in which the embodied engineering knowledge within the program allows users to validate their designs using the integrated structural analysis. The Sketchup plugin has the option to automatically convert an existing 3D model into a Trussfab structure, in addition to the capability to build and manipulate a structure from scratch.  A 3D printed hub with embossed ID numbers. Image © Hasso Plattner Institute Trussfab's Sketchup editor offers primitives as building blocks in tetrahedron and octahedron shapes. The initial shapes can then be manipulated, however, and Trussfab's system adjusts the model in a way that automatically maintains the truss structure and the overall structural stability. After a structure is designed, Trussfab generates 3D model files of all the necessary connection hubs for each node, which users can then send directly to a 3D printer. Unique IDs will be embossed into the 3D-printed pieces for clarity, allowing users to then assemble their structure using standard sizes of plastic bottles (Trussfab will show where each bottle size is needed).  The CHI'17 Pavilion. Image © Ludwig Wilhem Wall  A detailed view of the CHI'17 Pavilion construction. Image © Stephanie Neubert With only Trussfab's Sketchup editor, a desktop 3D printer, and the necessary materials, anyone can now design and fabricate a large-scale structure capable of supporting human weight. Once the main truss structure has been created, users can also add decorative facades and other details. For non-structural parts of a design, if desired the Trussfab system will also design flat facades with hubs that can be laser-cut instead of 3D printed, the files for which are also automatically generated.  Digital model of the CHI'17 Pavilion in the Trussfab editor in Sketchup. Image © Robert Kovacs and Oanh Lisa Nyugen Xuan  Digital model of the CHI'17 Pavilion in the Trussfab editor in Sketchup. Image © Robert Kovacs and Oanh Lisa Nyugen Xuan At the recent CHI'17 conference in Denver, a team led by architects Oanh Lisa Nguyen Xuan and Robert Kovacs constructed a pavilion with Trussfab using 1268 bottles and 191 3D-printed connectors. The pavilion took about 6 hours to assemble on site, a time-lapse of which is shown in the video below. Another video describing the process can be watched here as well.  This posting includes an audio/video/photo media file: Download Now |
| Pantone Apartament / AR Arquitetos Posted: 24 Jun 2017 02:00 AM PDT  © Maíra Acayaba
 © Maíra Acayaba From the architect. After the removal of all internal divisions from the original plan to a complete restructuring of layout, the project aimed to create a large and fluid space, taking advantage of the natural lighting conditions. With only one bedroom needed, the rearrangement was made as to prioritize the living room area. Therefore, a single volume was created, being able to solve all issues of the building’s system.  Floor Plan The big white volume concentrates de spaces that serve the apartment, articulating the program. With each door opening, its interior reveals monochromatic spaces – each one with a different color – coated in hydraulic tiles, which hold different uses: the suite’s bathroom, toilet, kitchen, service area and pantry.  © Maíra Acayaba  © Maíra Acayaba The served rooms – bedroom and living room –separated by a wooden panel constitute a sort of wrap for this hydraulic core, where the white floor, ceiling and walls emphasize the apparent concrete from the structure. This allows us to identify the original floor plan from the 70s. Still on the living room, the same wood table, with six meters long, is able to be used both as dining table and office table, with no need for a separation between these them.  © Maíra Acayaba  © Maíra Acayaba  This posting includes an audio/video/photo media file: Download Now |
| This Magnetic Drill Screws Through Wood Leaving No Visible Holes Posted: 24 Jun 2017 01:00 AM PDT Invis Mx2 is a device that allows you to connect screws and bolts easily without leaving any holes. Its cordless screwdriver works through a MiniMag rotary magnetic field, which adapts to any conventional drill, allowing to generate detachable connections with a tensile force of 250 kg per connector. The system is designed to be applied to wooden elements and ceramic materials, allowing the construction of furniture, railings, coatings, stairs, among others. More details on this device here. News and Images via Lamello.  This posting includes an audio/video/photo media file: Download Now |
| Belsky House / SO Architecture Posted: 23 Jun 2017 10:00 PM PDT  © Asaf Oren
 © Asaf Oren From the architect. A private residence frames a spectacular natural context, on the hills surrounding the Galilee Sea. Folded in a plastered white envelope, the inner spaces are oriented towards the view and invite it to enter the family's domain.  © Asaf Oren Reflecting upon the surroundings, a wide usage of roughly finished natural materials has been made. The exposed concrete ceilings emphasize the inclined section and call for the spectator to walk outside, onto the wooden deck. Steel structure articulate a rhythmic façade and compliment the pallette. The owner, a practicing carpenter and locksmith, lovingly made many of the construction and furnishing details himself, such as: the central blue library, the wooden decks and pergola, the TV mezzanine and armchair. The bottom floor is a studio for the owner.  Floor Plan The access path is leading from the street, exposing parts of the natural scene at a time, before the complete picture reveals itself – slopping down from the common space in the heart of the dwelling.  © Asaf Oren Common and private spaces are parted by the blue library and a fireplace. Both of which are disconnected from the ceiling – making the room appear bigger and more spacious. The connection between the central space and the eastern areas of the house and garden, are arranged so that to frame an ancient monolithic Dolmen structure. The Dolmen is a burial site, dated back to the Chalcolithic (Copper) Age, which was discovered on site. It was carefully preserved during the construction and plays a meaningful role in the orientation of the spaces.  Section The steep hill makes room for a spacious front yard, accessed fluently from the bedrooms.  © Asaf Oren  This posting includes an audio/video/photo media file: Download Now |
| You are subscribed to email updates from ArchDaily. To stop receiving these emails, you may unsubscribe now. | Email delivery powered by Google |
| Google Inc., 1600 Amphitheatre Parkway, Mountain View, CA 94043, United States | |
_Frank_Oudeman_3.jpg?1497946037){kind=link}
Nema komentara:
Objavi komentar