Arch Daily |
- Spotlight: Arata Isozaki
- Rockvilla – National Theatre of Scotland HQ / Hoskins Architects
- Apartment and Trees / vir.mueller architects
- Atelier FCJZ and CAAU Teamed Up to Win Fondation de Chine Competition
- “Vertical Landscapes” to Promote Cultural Exchange and Religious Coexistence for New York’s Muslim Community
- House in Olmue / Rodrigo Pérez Kenchington
- The Driverless Future Challenge's Winning Entry Uses Plug-and-Play System to Reclaim Public Space for Pedestrians
- These "Artificial Trees" Can Filter as Much Pollution From the Air as 275 Natural Trees
- Norvento Building / Francisco Mangado
- Artist Brings Striking Pop Surrealism To An Abandoned French Castle
| Posted: 22 Jul 2017 09:00 PM PDT  Qatar National Convention Centre. Image © Nelson Garrido Japanese architect, teacher, and theorist Arata Isozaki (born 23 July, 1931) helped bring Japanese influence to some of the most prestigious buildings of the 20th century, and continues to work at the highest level today. Initially working in a distinctive form of modernism, Isozaki developed his own thoughts and theories on architecture into a complex style that invokes pure shape and space as much as it evokes post-modern ideas. Highly adaptable and socially concerned, his work has been acclaimed for being sensitive to context while still making statements of its own.  © <a href='https://www.flickr.com/photos/manel_armengol/9700507122'>Flickr user manel_armengol</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a>  Ōita Prefectural Library, 1966, now Ōita Art Plaza. Image © <a href='https://www.flickr.com/photos/kentamabuchi/2937896268'>Flickr user kentamabuchi</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> Born to a wealthy family and graduating from the University of Tokyo in 1954, Isozaki started his career under the influential Japanese modernist Kenzo Tange. Isozaki became his protégé, and even after leaving Tange's firm in 1963, continued working with his old mentor throughout the 1970s.  ALLIANZ Tower / Arata Isozaki + Andrea Maffei. Image © Alessandra Chemollo Isozaki, though, swiftly made his own name in architecture, attracting attention for 1966's Ōita Prefectural Library, a concrete construction that shares traits with both Brutalism and Metabolism—and a design that brought enough respect that he was invited to be the chief architect of Osaka's 1970 Expo alongside Tange.  Mito Art Tower. Image © <a href='https://commons.wikimedia.org/wiki/File:Mito_Art_Tower.JPG'>Wikimedia user Korall</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/'>CC BY-SA 3.0</a> As swiftly as Isozaki was making his name, he was equally swift in defying categorization. His first, more traditionally modernist explorations rapidly fell away in favor of his own, more personal innovations, incorporating post-modern ideas and contextual architecture. His sense of humor helped; the Fujimi Country Club (1973) in Oita City takes the shape of a question mark—supposedly a sign of Isozaki being baffled by his country's obsession with golf.  The Museum of Contemporary Art (MOCA) in Los Angeles. Image © <a href='https://www.flickr.com/photos/jchatoff/511413114'>Flickr user jchatoff</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Either way, his idiosyncratic style caught the mood; by the 1980s he was working on Los Angeles' Museum of Contemporary Art to public and critical commendation, and his figure rose even further with his Olympic commissions at the 1992 and 2006 Games, both of which were well received for their attention to the locations they were built in.  The Palau Sant Jordi, Isozaki's design for the 1992 Barcelona Olympics. Image <a href='https://commons.wikimedia.org/wiki/File:Barcelona_Palau_San_Jordi_001.jpg'>via Wikimedia</a>. Image taken by Wikimedia user German Ramos in public domain According to his website, "Isozaki has created an architecture so personal in its ideas and spaces that it defies characterization in any single school of thought. At the same time, he resists the temptation to apply a signature style to his jobs, preferring instead to create architectural solutions specific to the political social, and cultural contexts of the client and site in question." Still working to defy labels, his projects today continue to skip between pure and complex. See all of Arata Isozaki's work featured on ArchDaily via the thumbnails below:  This posting includes an audio/video/photo media file: Download Now |
| Rockvilla – National Theatre of Scotland HQ / Hoskins Architects Posted: 22 Jul 2017 07:00 PM PDT  © Gillian Hayes - Dapple Photography
 © Gillian Hayes - Dapple Photography From the architect. Hoskins Architects was commissioned to design the National Theatre of Scotland's headquarters, bringing together various departments previously scattered across several buildings. This new facility, Rockvilla, does not host public performances, but rather, is a creative engine room to facilitate the Company's commitment to performing to diverse geographic audiences, and their growth on both their national and international stage. The redevelopment of a disused industrial warehouse on the banks of the Forth & Clyde Canal provides: three rehearsal rooms of varying scales, a learning and community suite, wardrobe department, production workshop and technical store; plus office space and social areas.  © Gillian Hayes - Dapple Photography The bringing together of previously disparate departments was a key tenet of the design. The decision to redevelop a previously disused industrial warehouse was in keeping with the desire for producing a 'hard working' building. This new facility creates an open atmosphere, stimulating a collaborative working environment in which the Company can thrive. The retention of the existing structural frame of the warehouse generates a factory-like form, and the new sinusoidal-metal cladding enhances the industrial aesthetic, appropriate for the vision of a 'creative factory'. The use of simple, robust and restrained materials and finishes internally (white walls and a polished concrete ground floor with an exposed services and existing and new steel structure) continues the raw aesthetic, while meeting the performance requirements of a modern theatre company.  © Gillian Hayes - Dapple Photography  Ground Floor Plan  © Gillian Hayes - Dapple Photography An internal double-height atrium allows light deep into the plan, and creates a social space where the paths of full-time staff cross with each other, as well as the large number of temporary production-specific staff. Glazed internal screens further reinforce the connections between departments. The first floor open-plan office, featuring reclaimed gym hall floor, provides space for informal discussions and team working. The elevated location of the office rewards the desk-bound workers with panoramic views back over the canal to the city centre beyond.  © Gillian Hayes - Dapple Photography In this location the National Theatre of Scotland are fueling the regeneration of a previously neglected area, which is fast becoming the city's cultural quarter. Consideration of the wider impact of the development lead to the decision not have a physical boundary to the site, so that it becomes part of the route along the canal and provides a public access point to the canal.  © Gillian Hayes - Dapple Photography  Fist Floor Plan  © Gillian Hayes - Dapple Photography The project has gone on to win a RIAS Award, a Scottish Design Award commendation, and the UK's prestigious RIBA National Award.  © Gillian Hayes - Dapple Photography  This posting includes an audio/video/photo media file: Download Now |
| Apartment and Trees / vir.mueller architects Posted: 22 Jul 2017 01:00 PM PDT  © Andre J. Fanthome
 © Andre J. Fanthome From the architect. The Apartment and Trees residences are designed as a unit of multi-family dwellings for diplomatic missions in New Delhi.  © Andre J. Fanthome Each of the two duplex apartments offer opportunities for private family functions to be separated sectionally from the more public spaces in each residence. The building is envisioned as a pavilion in a garden oriented to views of the surrounding trees, with limestone floors polished to reflect the soft natural light. A series of balconies and terraces on the periphery of the apartment, nestled in the branches of the old Neem trees, provide space for private contemplation and act as a thermal buffer against the heat.  Ground and Second floor The interior spaces echo variations in the quality of light, and the color of the surrounding foliage - the only urban link to a fast disappearing landscape in New Delhi. The simple volumes reference the early modernist projects built in the sixties in New Delhi, when a frugal use of material and heightened awareness of climatic considerations were an architectural norm.  © Andre J. Fanthome  First and Third Floor Plan  © Andre J. Fanthome In making the inhabitants aware of a sense of the elemental, the spatial composition expresses an architecture that reflects a sensitive response to the local climate.  © Andre J. Fanthome The choice of grit finish (a composition of crushed Indian White marble, Kota stone and Jaisalmer stone) on the facade enables us to collaborate with local craftsmen to create an economical and resilient skin for the architecture.  Detail Section  This posting includes an audio/video/photo media file: Download Now |
| Atelier FCJZ and CAAU Teamed Up to Win Fondation de Chine Competition Posted: 22 Jul 2017 09:00 AM PDT  Courtesy of Atelier FCJZ Paris (CIUP). The project is part of #Cite2020, an initiative by the Cite Internationale to develop 1,800 new housing units by 2020. Adding to the existing 40 residential buildings, the Fondation de Chine will introduce a contemporary interpretation of student housing to the campus.  CIUP Campus. Image Courtesy of Atelier FCJZ Housing a variety of academic buildings and residences organized by nationality, the CIUP was founded in Paris in 1920 as a space for students and researchers. The private park and foundation were conceived as a place to cultivate multicultural intellectual conversation.  Pavilion Suisse by Le Corbusier. Image Courtesy of Atelier FCJZ Over its almost century long development, it has been contributed to by notable architects such as Le Corbusier who designed the Pavillon Suisse (The Pavilion of Switzerland) in 1930 and collaborated with Lucio Costa in 1954 for the Maison du Brésil (Home of Brazil). Claude Parent granted his architectural vision to the Pavillon de l'Iran (Pavilion of Iran) in 1969, and in 1926 Willem Marinus Dudok designed the first residence, Collège Néerlandais (The Netherlands College).  Courtesy of Atelier FCJZ According to the architects, the design of the Fondation de Chine will be a synthesis of modern Chinese culture rather than a display of any one particular architectural style. Including residences and a multipurpose hall, the building aims to be a venue for academic and artistic exchange. The project promotes the connectivity between indoor and outdoor space, seen in the stairs that cross the gardens. Chinese sculptor Sui Jianguo will consult on the landscape design of the project, which includes two interior gardens and a terrace garden.  Courtesy of Atelier FCJZ The project will continue to be developed and completion is expected in the near future. News Via: Atelier FCJZ.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 22 Jul 2017 07:00 AM PDT  Courtesy of Büro Koray Duman Architects New York based Büro Koray Duman Architects are collaborating with the American Society for Muslim Advancement (ASMA) to design a cultural center prototype, named Cordoba House, in order to facilitate the total integration of American Muslims, without compromising their religious identities. The center will be the first Muslim sponsored multi-faith community center in New York City, aiming to help promote "progressive change, inter-religious coexistence, and cultural exchange". Highlighting the necessity of such a project, the design team explain: "There are approximately 800,000 Muslims living in NYC. A majority of the gathering places for Muslims are Mosques that focuses on Religion as Practice, which does not leave enough room for developing Religion as Culture."  Courtesy of Büro Koray Duman Architects  Courtesy of Büro Koray Duman Architects Accommodating a total of 100,000 square feet, Cordoba Housewill include recreation, culinary, art, retail and administrative spaces and programs. Based on the historic Ottoman Islamic center, known as a "Kulliye", the project intends to integrate an intimate horizontal experience within the verticality of the city, ultimately achieving a "vertical landscape" that references the alleys of the historic Ottoman precedent. This vertical public space revolves around the solid interior volumes, which are stacked and then carved to create public amenities such as an auditorium, a library, and galleries.  Courtesy of Büro Koray Duman Architects  Courtesy of Büro Koray Duman Architects Vertically, the building is organized with large gathering spaces at its base and destination spaces at the top, which sandwich the public programs in the middle. The spaces and programs also vary in terms of privacy, with easily accessible and open programs shifted to the exterior as opposed to more private spaces within the solid core. Symbolically, the form of the building bridges Mecca to New York City. At the base of the cultural center, which is oriented to face Mecca, the prayer room and a multi-purpose hall form important spaces that are central to the identity of the building. As the center rises, the interior envelope contorts to align with Manhattan's grid.  Courtesy of Büro Koray Duman Architects The project is currently undergoing a fundraising process to acquire the land for it to be built upon. Construction is expected to begin in 2020. News via: Büro Koray Duman Architects.  This posting includes an audio/video/photo media file: Download Now |
| House in Olmue / Rodrigo Pérez Kenchington Posted: 22 Jul 2017 06:00 AM PDT  © Andrés Goñi,
 © Andrés Goñi, From the architect. The project consists of a single family house on a 5000 m2 plot within a condominium in the municipal district of Olmué.  © Andrés Goñi, The site is located on the slopes of a mountain range that borders the Pelumpen River, in a native forest area near La Campana National Park, in the middle of the coastal mountains.  © Andrés Goñi, The relief of the terrain presents a double condition as it is a flat terrain cut abruptly by a steep slope of approximately 14 meters in height.  © Andrés Goñi, The project, a one story square shaped house, capitalizes this natural balcony condition by being emplaced in the edge of it, allowing the terrace to be suspended over the sloap and the top of the trees, looking out towards the Olmué basin.  Section The east facade, where the main access is located, was thought as a double skin. A wooden lattice with different levels of transparency hides the service area and one of the bathrooms.  © Andrés Goñi, The bedrooms are facing north and you can exit through them towards an exterior corridor. This intermediate space is typical of the local and vernacular architecture and allows protecting the house from the intense summer sun and the winter rains.  Floor Plan A thick stone wall separates the private from the public. Common areas such as the living room, kitchen and dining room were designed as a single open space with big windows that frame the south and west views without any ledge or lintel. A virtual space, crossed by a bridge, separates the cantilevered terrace from the living room, increasing the vertical relation of the user with the landscape and allowing views from the interior to the bottom of the slope.  © Andrés Goñi, The project has a mixed structure system that is developed around a thick stone and concrete wall:  © Andrés Goñi, A steel structure consisting mainly of square tubing columns and standard channel and I beams, supports a reinforced concrete slab onto steel decking.  © Andrés Goñi, On this slab, SIP Panel structural walls and partitions are installed. The roof structure is build mainly with I-joist beams. The house is externally coated with graphite colored metallic panels.  © Andrés Goñi,  This posting includes an audio/video/photo media file: Download Now |
| Posted: 22 Jul 2017 05:00 AM PDT Of the four finalists selected for Blank Space's "Driverless Future Challenge", which was announced last month, "Public Square" has emerged as the winning entry, with a plug-and-play scheme to transform New York's public realm for its streets and pedestrians. Designed by FXFOWLE and Sam Schwartz Engineering, the proposal was selected by a panel of New York City commissioners, for its response to the competition brief with a flexible system that accommodates a variety of public space typologies, while creating a harmonious coexistence between pedestrians, cyclists, and vehicles.
Based on a number of interlocking 8'x 8' squares, the proposal replaces redundant public parking spaces with integrated infrastructure, green spaces, play equipment, retail opportunities and urban furniture. Recognizing that the transition to an autonomous transportation future is a long-term process, the design is incremental and offers change through a series of small interventions. Different combinations of squares create endless varieties of public programs and amenities, ultimately forming large modular networks of pedestrian friendly spaces. "Public Square" allows the street to change, as the city changes.
The winning project was selected from entries from over 20 countries, and the four finalists will have the opportunity to make their visions a reality, with access to fabrication facilities at Brooklyn's New Lab and partners in related fields. The competition's purpose was to select viable solutions that would actually be possible to begin implementing immediately in New York.
Check out the video above for an in-depth look at "Public Square", courtesy of the designers. News via: Black Space.
 This posting includes an audio/video/photo media file: Download Now |
| These "Artificial Trees" Can Filter as Much Pollution From the Air as 275 Natural Trees Posted: 22 Jul 2017 02:30 AM PDT  Eight CityTrees in front of the Frauenkirche in Dresden, Germany. Image © Green City Solutions Developed in Germany, the CityTree is a mobile structure that incorporates mosses and urban furniture to create a possible solution to the polluted air of urban centers. Rectangular, trunkless and flat, this "tree" basically consists of a large vertical panel, a wall of mosses which, according to its creators, has the capacity to absorb the same amount of nitrogen dioxide and microscopic particles from the air as 275 natural trees. Each CityTree can absorb 250 grams of particles per day and stores 240 metric tons of CO2 per year, say its creators. Installation takes about 6 hours and maintenance is quite simple, since the structure has built-in sensors that control the air temperature, water quality, and soil moisture. The sensors also allow the air quality to be measured in order to evaluate the efficiency of the structure.  Eight CityTrees in front of the Frauenkirche in Dresden, Germany. Image © Green City Solutions Despite CityTree's promising qualities, one of the product's setbacks is its cost. Planting and maintaining a traditional tree costs cities less than $1,000 per decade, while just purchasing a CityTree costs about $25,000, prompting the question: would it not be more effective to use these investments to address the sources of atmospheric pollution in cities?  CityTree. Image © Green City Solutions These structures have nevertheless proved popular with municipalities around the world, having already been implemented in 25 cities including Oslo, Hong Kong, Glasgow and Brussels, as well as several cities in Germany. News via Green City Solutions.  This posting includes an audio/video/photo media file: Download Now |
| Norvento Building / Francisco Mangado Posted: 22 Jul 2017 02:00 AM PDT  © Juan Rodríguez
 © Juan Rodríguez From the architect. The building for the research center of the firm Norvento is located on the border between an industrial enclave and a forest, close to the city of Lugo. The project adopts the form that enables the building to open on to the forest and be in a continuum with it, capitalizing on all the attributes that the woods can contribute to the architecture, while closing up on the side facing the adjacent industrial scene. It uses the opportunity to establish a clear-cut scheme through architectural, typological, and spatial attributes.  Site Plan The project takes off from a reflection about the office type and proposes a manner of working and researching that calls for something different from the typical large anonymous administrative building with identical office units of little interest. The new workplace must have a certain '"domesticity"; be a place where both privacy and encounters are possible. A place which is not defined, delimited, but somehow in daily reinvention, through interaction with users. The floor plan presents areas that stretch on and become part of the park, and this layout makes it possible to structure each department in a differentiated, autonomous way, enabling programs to be enlarged in the future, as specified in the competition brief.  © Juan Rodríguez  Section 03  © Juan Rodríguez Another key objective of the project has been to build a simple and logical form in a way that is subtle but clear. We aim for an image that is easy to recognize and therefore easy to identify with, distanced from what we tend to associate with most office buildings of the impersonal kind. In this way, the architecture of the building is coherent with the attitude of the firm Norvento.  © Juan Rodríguez The interior tries to strike a balance between simplicity and surprise. The floor plan is not orthogonal, and the layout of volumes generates rich interior geometries, especially at the points of encounter. The geometries definitely qualify the spaces. Light is important. We always propose glass dividers that will bring light into the rooms, and where necessary, skylights.  © Juan Rodríguez  Plan  © Juan Rodríguez There are many arguments in favor of making this building a commitment to the environment, especially in view of the main activity of Norvento, which involves research in the field. Logic and simplicity are basic principles, for sure. As far as materials are concerned, eucalyptus wood is dominant, used in all the facades. This wood is commonly used in Galicia, but it is rather reviled, and used principally for making paper pulp. Here we are able to use it thanks to research on how to apply it to construction. Not only have splendid technical applications been developed, but an entire program for the future exploitation of eucalyptus as a great forestal asset has been launched. The building is autonomous energy-wise and is unconnected to the web.  © Juan Rodríguez  This posting includes an audio/video/photo media file: Download Now |
| Artist Brings Striking Pop Surrealism To An Abandoned French Castle Posted: 22 Jul 2017 01:00 AM PDT  © Spencer Chopem Down Okuda, the Spanish artist who has been converted into one of the biggest figures in pop surrealism, is continuing his artistic journey in France. After paying homage to the Mona Lisa in the façade of a 19 story building and designing a trampoline above the Seine River, the artist has now taken on the façade of the Valette Castle (1864) in Loiret, which has been abandoned since the 80’s. The work is titled “Skull in Mirror” and reactivates the Valette Castle whose history links France and Spain. In 1936, during the time of the Spanish Civil War, Republicans purchased the castle, where initially it housed children evacuated from conflict and then later, political exiles. In the 50’s, Spain, under Franco’s rule reclaimed it and used it for holiday camps. Two decades later, the castle was converted into a Spanish school and by 1986 was left abandoned. In 2002, it was acquired by the Pressigny-les-Pins council and a private company.  © Spencer Chopem Down As the curators at Night Gallery and Ink and Movement explain, in this work Okuda connects his “inspired contemporary vision with classic art and the reinterpretation of artists from the Renaissance, from his own universal and colorful perspective, [in other words] through geometric patterns, multicolored and dreamlike scenes." “In this more mature period of his my career, to travel and transform space around the world is one of my major sources of inspiration,” says Okuda in an official interview. “The feedback with other cultures has made me feel alive, which is reflected in my creations, which always have a positive outlook,” the artist adds. The LaBel Valette Festival also saw 100 artists create interventions in the interior of the building, thanks to an invitation through the Urban Art Paris. News via: Ink And Movement, FACEEF.  © Spencer Chopem Down  This posting includes an audio/video/photo media file: Download Now |
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