Arch Daily |
- M89 Hotel / Piuarch
- Spotlight: John Hejduk
- Kget / bonte & migozzi architectes
- Villa Heerenveen / Lautenbag Architectuur
- Viewing Tower Hoge Bergse Bos / Ateliereen Architecten
- Wahat al Karama / bureau^proberts + Urban Art Projects
- XYZ Formula / WGNB
- People Are Sharing this Puzzle that Supposedly Tests Whether You're "Smarter Than an Architect"
- Lake Shore Artist Studio / Praxis d’Architecture
- Funerary Garden / Manuel Herrera Gil
- Studio Gang Unveils Community-Led Revitalization Masterplan for Memphis' Mississippi River
- House 1016 / Raúl Sánchez
- Shigeru Ban to Design Up to 20,000 New Homes for Refugees in Kenya
- Taylor Residence / in situ studio
- Call for Submissions: Best Architecture Drawings 2017
- MAD Architects Designs Futuristic Headquarters for the "World’s Fastest-Accelerating Electric Car"
- Habitarte / Aflalo/Gasperini Arquitetos
- BDP Selected to Restore London's Iconic Palace of Westminster
- A Letter to the Parents of Prospective Architecture School Students
- CI336 House / BAM! arquitectura
| Posted: 18 Jul 2017 10:00 PM PDT  © Andrea Martiradonna
 © Andrea Martiradonna From the architect. Opposite the building, there is the rhythmic series of brick blocks of the Caproni factory, with their shed roof and industrial archaeology charm: the M89 Hotel – the new four-star destination at number 89 of via Mecenate– faces the factory halls that one hundred years ago hosted one of the leading aviation companies and which are now home to Gucci, after a meticulous renovation and expansion project by Piuarch.  © Andrea Martiradonna A few months after the inauguration of the maison new headquarters, Piuarch has started a new project in the east outskirts of Milan, to reinforce its character as dynamic business hub, opened to the city. The dialogue with the surrounding urban fabric – fulcrum of the concept applied to the over 35,000 m2 of the production plant occupied by the fashion company–, also defines the project for the hotel facility, whose building is designed in continuity with the pre-existing volumes, enhancing the architectural identity of the neighbourhood.  © Andrea Martiradonna On the outside, the hotel hints at the outline of factory halls: the ground floor features a wide glass wall with a metal grate, at the same height of the industrial buildings as an ideal continuation of the permeable facade on the street. The roof, instead, reinterprets the industrial shed system in a contemporary key: the cover takes the shape of a fascinating complex profile and takes a step back to leave room to the terrace framed by full-height glass walls. The roof also hosts the panoramic restaurant, with a view of the Milan skyline, open both to hotel guests and to the public.  © Andrea Martiradonna Indoors, the hotel boasts the same minimalist character of its enclosure: its business vocation inspires a streamline design, revolving around refined colour contrasts between anthrax grey, white and green and a mix of contemporary furniture and iconic 1950s pieces.  © Andrea Martiradonna At the entrance, a large fluid area hosts the reception desk, the lobby –with its comfortable sofas resting on the geometric patterns of the rugs–, and a bar: the white ceiling, spangled with cylindrical light fixtures, is in contrast with the hexagonal floor tiles, creating an evocative decorative effect; the anthrax grey walls, instead, are embellished with prints reproducing the architectural heritage of the former Caproni factory and which we find again in the restaurant area on the top floor.  © Andrea Martiradonna  Section  © Andrea Martiradonna The floors from the first to the fifth host the 50 rooms and 5 suites, whose interiors are decorated as a negative of the public areas: the walls are white and the ceiling is anthrax grey, thus delivering greater brightness to the private areas. With a surface of 24 m2 and 42 m2 respectively, what differentiates the rooms from the suites are the finishing details, more precious in the suites with oak parquet floors and elegant walnut boiserie.  © Andrea Martiradonna Nothing is superfluous and the décor is ensured by the wise combination of materials and functional distribution, for a project that creates perfect consistency between indoor and outdoor, with the crowning and its multi-faceted outline as the true protagonist of the restored building.  © Andrea Martiradonna  This posting includes an audio/video/photo media file: Download Now |
| Posted: 18 Jul 2017 09:00 PM PDT  Wall House II, built 2001 in the Netherlands. Image © Liao Yusheng Artist, architect and architectural theorist John Hejduk (19 July 1929 - 3 July 2000) introduced new ways of thinking about space that are still highly influential in both modernist and post-modernist architecture today, especially among the large number of architects who were once his students. Inspired both by darker, gothic themes and modernist thinking on the human psyche, his relatively small collection of built work, and many of his unbuilt plans and drawings, have gone on to inspire other projects and architects around the world. In addition, his drawing, writing and teaching have gone on to shape the meeting of modernist and postmodern influences in contemporary architecture and helped bring psychological approaches to the forefront of design.  Image <a href='https://commons.wikimedia.org/wiki/File:HejdukPrague1991.jpg'>via Wikimedia user Gamje</a> (public domain) Born in New York to Czech parents, Hejduk graduated from the University of Cincinnati in 1952 and rapidly added a Master's degree from Harvard a year later. Unlike most prominent architects, who would attempt to join a practice or apprentice under a contemporary master, Hejduk jumped right back into university, but this time as a teacher at the University of Texas - where his unusual teaching style had him join the "The Texas Rangers," a group of young architects who created an innovative school curriculum. After the entire group was fired, Hejduk briefly worked under I M Pei in New York and taught at Cornell, before eventually settling at Cooper Union, where he became a professor in 1964.  John Hejduk Towers in Galicia, built by Eisenman to Hedjuk's plans from 1992. Image © <a href='https://commons.wikimedia.org/wiki/File:2013._Torres_Hejduk._Cidade_da_Cultura._Santiago_de_Compostela_-_Galiza-2.jpg'>Wikimedia user Luis Miguel Bugallo Sánchez (Lmbuga)</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> After many years of hopping around, working at Cooper gave Hejduk the stability and position he needed to make waves. Winning a research grant in 1967, he began exploring his early, radical curriculum of exercises involving creating space using geometric shapes placed in various square, diagonal and curving grids in more rigorous detail, but he soon moved away to a more "free hand" approach. He began exploring new influences: psychology, mythology and later in his career, religion.  The Foundation Building of the Cooper Union, which <a href='http://www.nytimes.com/1972/12/20/archives/1859-cooper-union-building-shut-for-2year-renovation.html'>underwent a major renovation by Hejduk in 1975</a>. Image © <a href='https://commons.wikimedia.org/wiki/File:Cooper_Union_by_David_Shankbone_crop.jpg'>Wikimedia user DavidShankbone</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> Publishing his first book in 1969, he embarked upon a career as an artist and theorist, teaching that elements were loaded with emotional context. His drawings often considered themes of architecture through a rather dark lens, and his most famous, the New England Masque (1981) charted alienation within a marriage and was inspired, of all things, by the film version of Stephen King's "The Shining."  Wall House II, built 2001 in the Netherlands. Image © <a href='https://commons.wikimedia.org/wiki/File:Wall_House2.JPG'>Wikimedia user Wenkbrauwalbatros</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> That's not to say Hejduk wasn't a practical architect as well as a theoretical one. Many of his drawings were detailed, buildable architectural plans, such as Wall House I, where he used a single wall to divide the space in hopes of investing it with emotions of division. He built several projects in Berlin, including Cooper Union's Foundation Building (1975) which he reconstructed, Wall House II, which was built posthumously in the Netherlands, and the famous Kreuzberg Tower, built in 1987 and designed as part of a competition to provide new forms of low and middle income housing in West Berlin. A quietly regimented design, it stands out against the other more post-modern designs of the competition with its reduced color palette and focus on shape.  The Kreuzberg Tower. Image © <a href='https://www.flickr.com/photos/seier/500768137'>Flickr user seier</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> See all of John Hejduk's work featured on ArchDaily via the thumbnails below, and further coverage below those. You can also see a gallery of his paper work here. "Too Radical to Implement Yet Too Relevant to Ignore": John Hejduk's Kreuzberg Tower John Hejduk's Jan Palach Memorial Opens in Prague  This posting includes an audio/video/photo media file: Download Now |
| Kget / bonte & migozzi architectes Posted: 18 Jul 2017 08:00 PM PDT  © Julien Kerdraon
 © Julien Kerdraon From the architect. Facing north south, with a triangular form, the land is of a small size (785m2), which is why the house plan is part of the administrative limits of the parcel's removal. With its endemic plants - a vast majority of pines and agaves - its low walls made of stones and its extraordinary Mediterranean view, this protected place doesn't have sanitation or possibilities of access to the construction site. Inhabited by Mediterranean culture and grecque mythology, Christophe Migozzi revisits the primitive atmosphere of the cottage by reinterpreting a contemporary version of "Ulysse's vessel that surfs on a slope like a crab trawler."  © Julien Kerdraon Piously respecting abrupt slopes and the very protected nature of this site, architects are looking to keep the land the way it is and are designing a house on stilts. In order to completely stay away from hurting the land in any way by intrusive construction, they are reducing the leveling work to them only stilts, indispensable to the elevation of the habitat without hurting the natural land. The cut-down trees are replaced with new varieties (fig trees, eucalyptus trees, viburnum, opuntia, phormium...) so as to densify the land's natural limits.  © Julien Kerdraon Considering the weak coefficient of the ground's occupation, construction favors the SHOB (215m2) and not the SHON (107m2) with the help of exterior space - passageway, patio - which will prolong the built-in volume.  © Julien Kerdraon Whoever says "cottage" and "vessel", says timber, material which possesses every required quality, from lightness to strength. The structure of the house is in laminated douglas wood whilst the cover is made of larch brackets vertically placed. Another way to reinvent the arbor and, with the help of the growing flora, to merge house and land together.  © Julien Kerdraon  Upper Floor Plan  © Julien Kerdraon The house itself has two levels: on the garden level, a bathroom, and two rooms: on the ground level, a kitchen and a living room that ends outside. The interiors are covered by shinoki ash panels.  © Julien Kerdraon  This posting includes an audio/video/photo media file: Download Now |
| Villa Heerenveen / Lautenbag Architectuur Posted: 18 Jul 2017 07:00 PM PDT  © Søren Aagaard
 © Søren Aagaard From the architect. The clients are a young couple with two toddlers. They have a full agenda and wanted an efficient house, closer to work and school. A modern spacious house with a large kitchen/dining area was their wish. On a plot on the edge of Heerenveen, their clear modern villa, with lots of glass and a number of special features, has been realized.  © Søren Aagaard The elevated property positioned on a black podium gives the illusion that the home is floating adjacent to the watercourse. The stunning façade with contrasting finishes which include folded perforated metal panels make a bold statement within this residential area, coupled with a contemporary entrance and a beautiful wooden canopy. This canopy is mirrored on a larger scale to provide shade to the south façade. This detail provides natural cooling to the interior of the property whilst the opposing materials complement the exterior of the building.  Section The interior of the building provides clean lines with striking results from the perforated metal panels used on the exterior which allow light to penetrate the building and natural light effects which reflect off the walls and give an alternative dimension, whilst offering privacy from the neighbouring residential development. Floor to ceiling glazed panels with minimal framing add to the open feel of the building bringing the outside in and give the building the visibility of stunning sun rises and sun sets over the adjacent landscape , picture windows providing specific focus to the external elements and natural flora and fauna over the watercourse.  © Søren Aagaard The open plan feel is continued throughout the building with strategically placed dividing walls to give privacy whilst allowing the interconnection of rooms to flow, the stairs are a key yet striking feature of the property whilst being functional yet minimalist, this home offers a spacious living environment which is both functional, contemporary and maximises the assets of its location.  © Søren Aagaard  First Floor Plan  © Søren Aagaard  Second Floor Plan  This posting includes an audio/video/photo media file: Download Now |
| Viewing Tower Hoge Bergse Bos / Ateliereen Architecten Posted: 18 Jul 2017 05:00 PM PDT  Courtesy of Ateliereen Architecten
 Courtesy of Ateliereen Architecten From the architect. At the top of 'hill B' at the Hoge Bergse Bos in Bergschenhoek a 22-meter high viewing tower is built. It is the centrepiece that completes the renovation of the recreational hill. We have designed the tower as a three-dimensional maze in which visitors have views from various altitudes and in various directions.  Courtesy of Ateliereen Architecten  Site Plan  Courtesy of Ateliereen Architecten There are two possible routes to the top. These relate to the two main approach routes to the top of the mountain. The tower is composed of equal staircase segments connected by small and large platforms. In this concept the desire to have viewing platforms at various heights could be realized easily.  Courtesy of Ateliereen Architecten  Plans  Courtesy of Ateliereen Architecten The main structure is a framework of white, steel columns and stringers. It stands like a sculpture at the hill top. The railings are made of wood which give a nice contrast to the structure and soften the appearance.  Courtesy of Ateliereen Architecten  Sections  Courtesy of Ateliereen Architecten  This posting includes an audio/video/photo media file: Download Now |
| Wahat al Karama / bureau^proberts + Urban Art Projects Posted: 18 Jul 2017 03:00 PM PDT  © Jonathan Gainer
 © Jonathan Gainer From the architect. This work exemplifies the power of fusion between art and architecture in a project that conveys purpose and emotion and creates a place of reflection, serenity and significance for its nation.  © Jonathan Gainer The conceptual direction of the project was conceived by world renowned artist Idris Khan to "create a park for reflection on both loss and remembrance, a spiritual place that conveyed unity and support - a monument that has positive and hopeful resonance while inspiring curiosity in sculpture and how contemporary art can influence emotions".  © Jonathan Gainer At the heart of Wahat Al Karama park is the MONUMENT which serves as a unifying poetic moment despite its monumentality. The complex structure is comprised of 31 aluminium vertical tablets, the largest soaring 23 metres in height. The tablets appear to gently rest on each other symbolizing the united strength of the seven nations of the UAE. With its impressive scale, the Memorial represents the eternal martyr, a place of reassurance and defiance. Its two front tablets stand vertically and are intended to evoke a sense of humility when approached.  © Jonathan Gainer  Plan  © Jonathan Gainer Each tablet was carefully handcrafted by UAP's design and fabrication team. The 31 tablets are made of a total of 850 cast aluminium panels. UAP's team used a hand painting technique to achieve a delicate gradient of colour on the surface that captures the light rather than reflecting it.  © Jonathan Gainer They feature a series of Arabic poems and quotes from both the late Sheikh Zayed Bin Sultan Al Nahyan and Sheikh Mohamed Bin Zayed Al Nahyan and entice the viewer to read, reflect and touch the artwork, creating a personal relationship with the Memorial.  © Jonathan Gainer The PAVILION OF HONOUR marks the end of the memorial journey as a place of reflection and honour. The circular structure is centered by seven standing glass panels by Idris Khan surrounded by a water feature, and 2,800 aluminium plates inscribed with the names of the UAE's heroes. As a collaboration of artist, curator and architect it is a built expression of the artists practice and the aspirations of the region for its heroes.  Elevations "The Pavilion was conceived as a place for reflection and refuge, a place of honour where the visitor ends their journey in quiet contemplation. The layered roof responds to the monument and the massive vernacular of the region and represents the layering of history over time." Liam Proberts, creative director of bureau^proberts The landmark also includes the Visitor's Centre at the entrance and The Memorial Plaza which also serves as an amphitheatre for events. Wahat Al Karama is open to the public every day from 9.00am until midnight. A national public holiday on 30 November honors the lives of fallen soldiers in the present and past conflicts. Engineering firm AECOM was responsible for the overall design of The Memorial Park.  © Jonathan Gainer  This posting includes an audio/video/photo media file: Download Now |
| Posted: 18 Jul 2017 01:00 PM PDT  © Yongjoon Choi
 © Yongjoon Choi From the architect. Inflow into foreign space inevitably incites desires for attraction and excitement. It may be something similar to curiosity. Just like the beginning of writing or the first scene in a film, space may have the attraction that keenly draws people's attention and stirs their senses from its first impression.  © Yongjoon Choi Rhythmical and vitality of the XYZ Formula's facade are said to come from the concept of 'See-through'. As the connection between the product image and spatial atmosphere cannot be ignored, XYZ Formula - the representing image of which is moisture products – was designed with the storytelling of 'Permeate'. The facade, inciting the compelling interest using punching plates, has illustrated a series of processes of 'Permeate' along with its function of absorbing natural light.  © Yongjoon Choi Besides, design worth special note is gradation of purple and orange connected linearly and related colors being transparently adorned in each corner of space, causing a brilliant linkage with the goal of the brand. Space of XYZ Formula has been represented based on the gradation of its colors ranging from purple to orange in a bid to highlight rhythmical, vitality and gorgeous spatial atmosphere. This has significant and sufficient implications as space visualizing diverse images and stories coming from dimmed border of colors.  © Yongjoon Choi  Flor Plan  © Yongjoon Choi  This posting includes an audio/video/photo media file: Download Now |
| People Are Sharing this Puzzle that Supposedly Tests Whether You're "Smarter Than an Architect" Posted: 18 Jul 2017 12:30 PM PDT  Over at The Guardian, mathematician Alex Bellos has an article series in which he asks readers to send their solutions to a weekly puzzle. That sounds innocent enough, but this week's installment might have caused architects to double-take: inspired by a reader who remembers it from his days as an architecture student, solving Monday's puzzle suggests that a reader is "smarter than an architect." The puzzle itself looks somewhat like a child's block puzzle. Three holes—a square, circle, and triangle—are presented. But unlike a child's puzzle, in which you'd normally have square, circular and triangular blocks that fit the holes, the challenge here is to visualize a single block which would fit perfectly through all three holes.  via The Guardian "Architects will surely find the answer obvious," explains Bellos. "The heads of the rest of us will look rather like the house in the picture above [the original challenge article features a photo of an inverted house], since it requires you to visualize an object in three dimensions, which is a challenge if your brain isn't trained to do it." That kind of encouragement from a mathematician is nice to hear. However—and feel free to call us ungrateful for this—we here at ArchDaily think this puzzle might undersell architects' 3D visualization skills. We can't say we would want to draw the shape by hand like the winner selected by Bellos (we'd be much more comfortable doing it in 30 seconds on a simple modeling program like Sketchup), but we understood the principle of the solution in no time at all. Is this all it takes to be "smarter than an architect"? What do you think? Does the puzzle test your 3D visualization capacities? And if not, do you know of a puzzle that does? (For those who want to see it, the answer to the puzzle is illustrated nicely in this Youtube video.)  This posting includes an audio/video/photo media file: Download Now |
| Lake Shore Artist Studio / Praxis d’Architecture Posted: 18 Jul 2017 12:00 PM PDT  © Zhou Ruogu
 © Praxis d'Architecture From the architect. The site for this artist studio is on lake shore where the shore starts to turn from west to south. The topography change brought a site condition in which the west and south periphery is 4-6 meter high retaining walls, leaving east open to lake view and north facing the neighbor at immediate adjacency. Implied by the nature of the site, we sought a piece of architecture that integrates into the topography and becomes landscape.  © Zhou Ruogu Conceived as a single storey volume, it is cut in the east and north in such that it makes way for skylight to enter the building and it generates public paths across the building linking the road above and the water below. The shape of such volume results in a rich ceiling profile from the inside: the studio is lit by ample sky light, and the lake is seen through a controlled horizontal frame at eye level.  © Zhou Ruogu  Floor Plan  © Zhou Ruogu In this project, the generic boundary between roof and façade disappeared; the building opens up to receive light, welcome pedestrians, and renders dynamic views from different directions.  model. Image © Praxis d'Architecture  This posting includes an audio/video/photo media file: Download Now |
| Funerary Garden / Manuel Herrera Gil Posted: 18 Jul 2017 10:00 AM PDT  © Luis Gordoa
 © Luis Gordoa From the architect. Located twenty minutes from the city and port of Veracruz, in a completely natural environment, the project seeks to harmonize the experience of the environment with the process of detachment of the loved ones through a funeral park of 3 hectares of surface, where the senses and the natural environment are the leading roles of the event, provoking an experience that helps to mitigate these special moments.  Plan The funeral park is essentially an exterior design, where burials will only be housed in ecological, biodegradable urns and horizontal niches in conceptually "empty" buildings; There is also in the program of the first phase a filter-building, which contains the general services and functions as the beginning of the tour of the different outdoor areas, squares, and chapels.  © Luis Gordoa It also seeks to respect the existing plant species to the maximum, adapting the routes, building sites, location of infrastructure and materials to a serene, unique environment that harmonizes with the existing landscape.  © Luis Gordoa Within the master plan, it is contemplated the design of three plazas that will house vegetal species that highlight the environment and return to each of them a different experience, from the color of its vegetation, to the perception of the furniture and delicacy of the space. The park will also have an ecumenical chapel to celebrate farewell ceremonies and family chapels around a surrounding lake.  © Luis Gordoa The culmination of this physical-sensorial route finishes with a body of natural water that pretends to symbolize the final farewell, the end of the road ...  © Luis Gordoa  Section  © Luis Gordoa  This posting includes an audio/video/photo media file: Download Now |
| Studio Gang Unveils Community-Led Revitalization Masterplan for Memphis' Mississippi River Posted: 18 Jul 2017 09:15 AM PDT  A variety of new amenities at Tom Lee Park, from an adventure playground to an elegant pavilion, would provide park users with many activity options in all seasons. Different types of trails would allow for different speeds of movement through the park, while areas of respite and shade encourage everyone to relax and take in the Mississippi. Image Courtesy of Studio Gang Studio Gang has unveiled plans for the revitalization of the Mississippi River waterfront in Memphis, Tennessee. Spanning a 6-mile stretch along a historic section of the river, the masterplan was developed in response to more than 4,500 survey responses and several public events, ensuring that the concept offers transformative ideas that relate to the entire Memphis community. "The concept offers a series of actionable ideas meant to help the Riverfront achieve its potential as a shared, connected civic space for all Memphians to enjoy," said Gia Biagi, principal of urbanism and civic impact at Studio Gang.  A variety of new plantings and structures that amplify Mud Island's river ecology can help transform the peninsula into an active place offering a diverse array of opportunities for learning, teaching, research, gathering, and simply enjoying the outdoors. Image Courtesy of Studio Gang Studio Gang's proposal has been split into 5 distinct zones – the Fourth Bluff, Mud Island, Tom Lee Park, MLK Park, and Greenbelt Park – that have been designed to cater to their existing individual strengths under the following principles:
 Masterplan Overview. Image Courtesy of Studio Gang  Courtesy of Studio Gang The concept, which has been designed as a "connected series of short-, medium-, and long-term investments" will now be evaluated by Mayor Jim Strickland, who will determine a course of implementation. "We asked Studio Gang to think big about the future of our riverfront, and this concept proves they did exactly that. This visionary work will be the starting point of a community conversation to create a plan," Mayor Strickland said.  Elevating visitors above the river in Greenbelt Park, a thick arch of native trees directs views across the Mississippi and provides great habitat for birds and other animals. Below the walkway, visitors can explore a native wetland on foot or by kayak, depending on the rise and fall of the river. Image Courtesy of Studio Gang Learn more about the project in the full concept book, here. News via Studio Gang  This posting includes an audio/video/photo media file: Download Now |
| Posted: 18 Jul 2017 08:00 AM PDT  © José Hevia
 © José Hevia From the architect. The proposal is for a small budget intervention in which demolition is minimized to make the most of existing features, aimed at combining a second home with seasonal rentals. However, the home's current floor plan is outdated and does not meet the new functional requirements and needs.  © José Hevia  Ground floor plan  © José Hevia With a few changes, the idea is to change the way the house is lived in. On the ground floor, the kitchen is small and has little relation to the other spaces; although the new kitchen project maintains its current location to take advantage of the existing plumbing and drain systems, it now opens up to the living room through an opening in the wall that separates these two spaces, which is a load-bearing wall and thus requires reinforcing. Under this reinforcement, a new curved partition is added between the living room and the kitchen, creating a dining area. But this partition does not reach the ceiling as it is only 180 cm tall, and its purpose is to create a distinct area but without splitting the space, adding interior circulation complexity and spatial richness. The rest of the interior interventions on the ground floor are focused on creating a space continuum without physical separation but using specific elements to define the different areas based on their function.  Axonometry of gorund floor plan On the first floor, again with the aim of preserving most elements and minimizing demolition, the five-bedroom layout is kept, but the features of the central bedroom are completely changed: its opaque doorway becomes transparent, with the possibility of opening this room completely to the hallway through two large sliding doors. This way, this room's function becomes flexible, as it can be separated from the rest as a bedroom (by means of an opaque curtain), as a game or reading room, or as the extension of the hallway into the outdoor terrace. Concealed built-in closets hide folding beds and storage surfaces, enabling different uses for these rooms. Replacing the floors, as well as the new wall lining, helps reinforce this new strategy. For the ground floor, a new black ceramic floor in a herringbone pattern unifying all areas and seen again in the common areas on the first floor is selected.  © José Hevia The intervention on the ground floor (daytime living areas) and the first floor (nighttime living areas) can be read as a dialectical play: on the ground floor, the spaces are physically connected but visually and functionally separated, while on the first floor, the main room is visually connected but physically separated. The oak veneer boards reinforce this play, lining the separating element on the ground floor (the curved partition), and the unifying element on the first floor (the hallway and central room continuum).  © José Hevia All external carpentry has been replaced, with fixed windows fitted on the outside of the façade's plane, and openable windows and doors on the inside, showing the thickness of the façade wall in each opening.  © José Hevia  © José Hevia A second outdoor renovation phase, including a new pool, a pergola, new pavement and an extra bedroom, will complete the overall project.  © José Hevia  This posting includes an audio/video/photo media file: Download Now |
| Shigeru Ban to Design Up to 20,000 New Homes for Refugees in Kenya Posted: 18 Jul 2017 07:00 AM PDT  Shigeru Ban designed housing on the southeast coast of Sri Lanka, following the destruction caused by a 2004 tsunami. Image © Dominic Sansoni Pritzker Prize winning architect Shigeru Ban has signed an agreement with UN-Habitat, the United Nations agency tasked with guiding sustainable development, to design up to 20,000 new homes for refugees in Kenya's Kalobeyei Refugee Settlement. Currently home to more than 37,000 refugees, the settlement is quickly outgrowing its original capacity of 45,000 – over 17,000 have arrived this year alone, with numbers expected to continue to increase. "The key thing will be to design and construct shelter where no or little technical supervision is required, and use materials that are locally available and eco-friendly. It's important that the houses can be easily maintained by inhabitants." Ban will draw from a wealth of experience designing humanitarian architecture, including more than a dozen displacement-related shelter projects around the world in countries including Rwanda, Italy, and Nepal, using unconventional building materials like cardboard and paper tubes. At a recent visit to the Kalobeyei Settlement, he also explained the importance of drawing from local construction traditions to provide familiar living spaces that are tailored to their environment. "The shelter designs have to comply with the national regulations for housing while responding in a responsible manner to local climatic conditions and challenges, providing replicable sustainable solutions to shelter." Yuka Terada, UN-HABITAT Project Coordinator, agreed. "UN-HABITAT's approaches are strongly participatory and the relevant county officers as well as the representatives from refugee and host community will have an input in the design process." Designs will be tested first on 20 prototype shelters. If successful, they will then be gradually rolled out to replace existing structures, many of which have already begun to wear out. You can learn more about the project at the UN Refugee Agency website, here.
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| Taylor Residence / in situ studio Posted: 18 Jul 2017 06:00 AM PDT  © Keith Isaacs
 © Keith Isaacs From the architect. The house is on a flat site, well off the street, overlooking a woodland pond. The drive meanders through the trees and approaches from the northern forest side. The house screens any view of the pond. A tall entry and stair volume bisects the plan and is a lens to the pond upon entry. The entire ground level, which includes the master suite, opens north to the forest and south to the pond. Openings on the south wall are shaded by an overhang. A composition of surfaces and site walls define formal exterior spaces adjacent to the house.  © Keith Isaacs  Floor Plan  © Keith Isaacs The foundation and site walls for the house are concrete, and the majority of the structure is wood. A large concrete fireplace mass anchors the plan alongside the entry and stair volume. Steel is used to achieve large spans. Windows are a mix of aluminum-clad wood residential frames and large, aluminum sliding doors. The upper volume is stucco and sits atop a wood, metal, and glass lower level. Spare interior trim, flush interior doors, flush cabinets, and dark oak floors create a quiet interior. Exterior areas are wood, concrete, and gravel and spill directly from the interior on both the north and south sides. A large synthetic turf yard to the north provides a play area, bounded by the forest, the drive, and a garage. Selected trees sprinkle the landscape to the south between the house and the pond.  © Keith Isaacs  This posting includes an audio/video/photo media file: Download Now |
| Call for Submissions: Best Architecture Drawings 2017 Posted: 18 Jul 2017 05:30 AM PDT  In the thousands of posts we publish yearly, we have the privilege of seeing a large number of impressive architecture drawings. They are submitted by established practices, architecture students, artists and, occasionally, our readers. From precise, old-school hand drawings to architectural representation that pushes the boundary of collage, photography and digital sketching, drawings hold a particular intrigue in the hearts of architecture lovers. Since inspiration is at the heart of ArchDaily's mission, we'd like to invite all members to submit their best drawing for inclusion in our 2017 "Best Drawings" post. Guidelines
How to share a link to your submission: Any submissions that do not conform to the guidelines will not be considered.  This posting includes an audio/video/photo media file: Download Now |
| MAD Architects Designs Futuristic Headquarters for the "World’s Fastest-Accelerating Electric Car" Posted: 18 Jul 2017 04:10 AM PDT  Courtesy of MAD Architects MAD Architects has unveiled designs for a new campus for Faraday Future (FF), makers of "the world's fastest-accelerating electric car." Located on the site of a former Naval base on Mare Island, adjacent to the Napa River in Northern California, the campus has been envisioned as a "zero-emission base" that will support not only the company's research, development, and manufacturing headquarters, but also public outreach programming and ecological restoration of the river.  Courtesy of MAD Architects Inspired by the company's futuristic technology and the aerodynamic forms of its vehicles, the open-concept campus will consist of two low-lying, metallic structures reminiscent of "extraterrestrial objects" that have landed within the site's prairie landscape.  Courtesy of MAD Architects  Courtesy of MAD Architects Intended to "de-familiarizing employees and prospective clients with the status quo of the contemporary automotive market," the project's signature element is the user experience center located within a shimmering, sculptural tower in the center of the complex. Open to the public, the structure will provide visitors with an education experience and expansive views of the entire campus. Not shying away from dramatics, the tower serves also as an elevator that transports newly-purchased vehicles to the start of a sensational procession. "The design allows clients to watch as their car is transported from the warehouse along the elevated light rail into the exhibition hall, to right in front of them," explain the architects.  1st Floor Plan. Image Courtesy of MAD Architects  Courtesy of MAD Architects The double-height R&D facility has been designed to provide flexible work arrangements for its employees. A series of internal courtyards puncture the expansive roof, offering outdoor space for workers and allowing an abundance of natural light to reach internal social spaces. Following the company's zero-emission philosophy, large roof overhangs and an operable glass façade have been included to reduce solar gain and create passive ventilation, while rooftop solar panels and wind power generators will provide enough energy to support the daily operational demands of the entire campus.  Courtesy of MAD Architects  Courtesy of MAD Architects A timeline for construction has yet to be announced. News via MAD Architects.  Courtesy of MAD Architects  Courtesy of MAD Architects
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| Habitarte / Aflalo/Gasperini Arquitetos Posted: 18 Jul 2017 04:00 AM PDT  © Ana Mello
 © Ana Mello From the architect. The Habitarte Residential Condominium occupies an entire block surrounded by quiet tree-lined streets in the heart of the Brooklyn neighborhood.  © Ana Mello Placing four buildings around a large private square measuring 1,000 square meters guarantees that none of the buildings obstructs the view of the other. Two other buildings are located at the edge of the lot, set back 10 meters from New York Street, thus creating yet another semi-public square. The visual language of the buildings is defined by straight lines and "boxes" that frame the apartments at different heights.  © Ana Mello  Longitudinal Section  © Ana Mello The floor plans of the three buildings with 31 storeys were designed in the shape of a "windmill" with a central service core surrounded by the apartments that go on rotating and fitting into one another in such a way that they all have an unobstructed view. In the other three buildings a rectangular floor plan was designed with apartments on both sides, one with a view of the street and the other with a view of the internal square. The inclusion of a supermarket incorporated into the buildings' entrance hall next to New York Street and the semi-public square contributes to a greater vitality in the neighborhood.  © Ana Mello  Leisure Floor Plan  © Ana Mello In the middle of the buildings there is a sculpture of the Brothers Campana-Studio Campana.An urban art work open to the public.  © Ana Mello  This posting includes an audio/video/photo media file: Download Now |
| BDP Selected to Restore London's Iconic Palace of Westminster Posted: 18 Jul 2017 03:15 AM PDT  Palace of Westminster, London. Image Courtesy of BDP Following a two year-long bidding process, British-based international practice BDP (Building Design Partnership) have been chosen to restore and safeguard the future of the Palace of Westminster, the seat of the United Kingdom's parliament. Outbidding Foster + Partners, Allies and Morrison, and HOK the project is expected to run into billions of pounds and could see the two chambers—the House of Commons and the House of Lords, plus all ancillary support staff—move out of the iconic building for to a decade. The commission comes after an appraisal commissioned in 2013 argued that without large-scale works, the building would not be able to continue to be used in the near future. Since its construction in the 1800s, many of the systems "have never undergone a major renovation," according to BDP, "and the heating, ventilation, water, drainage and electrical systems are extremely antiquated."  Plan of the Palace of Westminster (attributed to the Office of Charles Barry). Image via Wikimedia Commons (Public Domain) BDP have confirmed that their "full interdisciplinary appointment" will cover architectural design, civil and structural engineering, building services engineering, interior design, landscape architecture, lighting design, acoustics, and planning. They will be working alongside heritage and conservation specialists Donald Insall Associates, civil and structural engineers Alan Baxter Associates, building services engineers Hoare Lea, and planning consultancy Gerald Eve. According to the Architects' Journal, "exact timings, costs and the final programme are yet to be known and will be subject to a parliamentary debate to be held in October at the earliest although no date has yet been confirmed by the government." News via BDP, Architects' Journal  This posting includes an audio/video/photo media file: Download Now |
| A Letter to the Parents of Prospective Architecture School Students Posted: 18 Jul 2017 02:30 AM PDT  Courtesy of Common Edge This article was originally published by Common Edge as "A Letter to Prospective Architecture School Parents." Is your child suddenly wearing angular clothes and pretending to need glasses and talking about things like maylines (sorry, forgot we're not in the 90s anymore) and 3d-printing and the power of the research lab to change the world studio? Has your child started rejecting your Frank Lloyd Wright photo books and started asking for that super sweet punched-out Chora L Works thing that makes no sense to you because there are literally holes in it? Has your child refused to go on anymore holiday house tours because, seriously mom, this is what I do all day at school? Then congratulations! You now have an architecture school student child. And as much as we have—and need—the framework of, say, Adult Children of Alcoholics, just as deeply do we need a framework for Adult Parents of Architecture Students. You may be panicking right now. You may be wondering why Bessie is suddenly hating prints (unless she's wearing all the prints at the same time); why Mark is rolling his eyes when you say there's a nice-looking house for sale down the block. Rest assured, these are phases that will pass. I would like to offer you the Phases of Architectural Education, so that you may feel calmer as you embark on this new journey: Phase 1 – The "Omigod you so totally don't get what architecture even IS" phase. This is when your child comes home from college and says, "I've decided not to major in international relations because all politics is a power game and besides the real way to intervene in structural economic problematics is to problematize the problem of space within a Foucauldean metric," and you're like, "Oh, that sounds nice honey, are you going to look at buildings?" and your child is like "OMIGOD IT'S NOT EVEN ABOUT BUILDINGS." This is the phase where the discourse and theory of architecture are first introduced. If your child is at a school like Princeton, there will be many presentations about letters of the alphabet and also axonometric drawings. If your child is at Harvard, he or she will grow up to get a job one day and you can literally stop worrying right now; you don't even need to read on. If your child is at Sci-ARC, expect a bunch of cool-looking shit of indeterminate function. If your child is at UC Berkeley, prepare to be very deeply schooled in the micro aggressive potential of the vending machine. (It's like… a machine …within the machine, bro.) Phase 2 – The "OK, I'm actually looking at buildings now" phase. This is when everyone has calmed down a bit and started looking at buildings. Suddenly your child may be asking if you can visit all the train stations in the surrounding area so that she may be more deeply diagram the relationship between train station, train track and bird flight. Your child may not be able to explain to you why the bird flight is so important, but rest assured that your child's professor has offered the suggestion to "do something diagrammatic with bird flight which will later make sense to you" and that your child is learning something. (Hint: when not to listen.) Be prepared for lots of "Well, THIS parking lot sure is inefficiently angled" and "No, the point is obviously not to go through the doors after buying the tickets" and also be prepared for fervent sketching, which will then be turned into an Instagram-filtered photo which will then have various raster effects applied (you don't need to know what raster effects are; your child probably doesn't either) and then printed out very very huge and suspended from the ceiling like a Calder mobile of flightful birds. Phase 3 – The "Why didn't I just major in international relations? Why didn't you STOP ME?" phase. This is when it all stops getting fun and starts getting real, i.e. your child has either come up against an enormously powerful theorist who reads Derrida out loud and says things like "The structure is not the structure but it is the form" or goes all Hejduk and says, "What is a wall even, isn't it just a floor that was turned into a wall?" or brings up the famous Louis Kahn apocryphal quote about "a window is … a… ….. ……. [fifteen minutes of silence]… hole in ….. a….. [another fifteen minutes] wall." This is where your child will really need your support. Simply be there for your child. Do not say, "I've been hoping this day would come…" or "Why don't you look into what it would take to transfer to international relations?" or "I never really thought you could draw anyway." Simply say, "It sounds like you're learning a lot!" and "How do you spell Hejduk?" Give them concrete reminders that they ARE learning stuff, it's just super ephemeral and complicated and weird—and also remind them that architecture doesn't need to be that super ephemeral and complicated and weird. Phase 4 – The "I'm going to save the world" phase. This is the best phase. This is where your child—now a few years into his or her architectural education—has waded through all the theory and the "what is an object, and is a building an object, and where is the architecture even?" and has realized that, Hey, architecture changes the way people live! Like Diller + Scofidio's Slither project in Japan gave everyone a front door! That was cool! All we have to do is figure out how to give everyone a front door! Oh wait, budget? Codes? No, but there's a solution! This is when your child will come home for Christmas break and point out to you all the flaws in your own home. "Do you see the alienation that having the master bedroom at the end of the hallway creates? Do you see how this apartment complex is indicative of the depersonalization of the individual self? Are we going back to the Middle Ages and everyone sleeps in the same bed but just whenever they want because there's no bedtime and everyone has two sleeps?" This is the time to be proud of your child! 1/100th of this spirit may remain, and it is important to cultivate that 1/100th. Phase 5 – The "I'm graduating in two months and wtf am I going to do for work" phase. This is the worst phase. Sadly, it comes right after the best phase, and is often at the whims of things like The Economy and also, The Rhetoric of The Economy. There actually are a lot of jobs in architecture. I know this for a fact. I work with an architecture firm and we are trying to hire two people. That's two jobs! Now multiply that by all the architecture firms in the world: That's so many jobs! It is also a very annoying myth that almost no one uses architects. Actually, many people use architects. Some architects end up designing bathrooms and hallway closets for a while, but that's how they get skills in drafting, etc, and eventually they design the rooms adjacent to the bathrooms and the hallway closets. Some architects win awards and competitions and are suddenly very famous and then they need a lot of people who can actually design stuff and have practiced a lot by sketching parking lots and then taking pictures with their iPhones and rasterizing them. Phase 6 – The "You know, I actually learned a lot in architecture school" phase. This is a few years down the road, where your child may or may not work as an architect. But no matter her profession—she might be a writer; a cook; a novelist; an editor; a PR person for a developer; a shaman—this is where everything she learned in architecture school will come into play. "Remember that thing about bird flight I did?" she will remind you as she boards the plane for Leipzig, where she will work on bird conservation for the next three years. Or that thing about the depersonalization of the self, as she works in development for one of those apartment building designers who don't let you open your windows more than 4 inches (so she adds on a little trick for how you can do it). Architecture school is a peculiar beast. It almost never actually prepares students to be practicing architects, and 90% of what is written by architects and architectural theorists is incomprehensible garbage. But being able to discern what is and what is not incomprehensible garbage is a profoundly useful life skill. As is knowing if you are good at drawing or not. As is knowing how to look more deeply at a train station and to consider bird flight, even if it seems irrelevant. Actually nothing in this world is ever inherently irrelevant; and architecture school is the only place where that is taught. So rest assured that your child will grow up to make a difference in this world, simply by having existed. And know that the difference will probably have many more modes of investigation and inquiry because that's what architecture school gives: ten thousand ways of looking at a blackbird in flight, and the thousand ways of representing that. And if nothing else, just be really relieved your child didn't go on and get a PhD. Eva Hagberg Fisher is the author of two books about architecture—Dark Nostalgia and Nature Framed—and of It's All in Your Head, a best-selling memoir about brain surgery, maybe-cancer and friendship. She has two degrees in architecture and is en route to her third.  This posting includes an audio/video/photo media file: Download Now |
| CI336 House / BAM! arquitectura Posted: 18 Jul 2017 02:00 AM PDT  © Jeremias Thomas
 © Jeremias Thomas From the architect. Client´s premise was to create a functional house, with efficient and concise character, designed to develop an intense familiar life, where each of its members, kids and adults, has its defined space.  © Jeremias Thomas Large social areas -living room, dining room and TV room- were designed one next to the other, opening to the garden, the gallery and up to the lagoon, in order to allow full spaces integration.  © Jeremias Thomas  Ground Floor Plan  © Jeremias Thomas In the ground floor, the living room, dining room, kitchen, TV room, laundry and toilette are located, while three bedrooms for the kids with their own bathroom, the master bedroom and family room are located on the upper floor.  © Jeremias Thomas Morphology of the house is achieved by south-oriented closing with a great concrete base where services are located, and it dematerializes towards the north-orientation rear, thus solving great view opening of the principal areas to the main lagoon of the neighborhood where the house is built. As regards materials, we used those that look like finish coat materials: exposed concrete (smooth and coarse), wood and glass.  Diagram These materials do not require the application of a finish coat over them, therefore they require low maintenance, assuming material ageing as a possible texture and using it in favor. In addition to this, from the economic point of view, they reduce costs and subcontracts.  Section A Project´s sustainability is approached from the selection of the terrain and the implementation of the project being conscious of the orientation and the major winds, as well as with 90% of the spaces with natural light, exterior views, cross ventilation which generates not only an energetic benefit but also a more comfortable for their habitat. So, for less consumption in climatization it has been selected the use of carpentry with DVH.  © Jeremias Thomas  This posting includes an audio/video/photo media file: Download Now |
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