Arch Daily |
- Shortlist Revealed for World Architecture Festival Awards 2017
- Ventilation Towers for the Northern Link / Rundquist Arkitekter
- House S Lake Starnberg / Stephan Maria Lang Architects
- KOHTEI / SANDWICH
- China Fuzhou Jin Niu Shan Trans-Urban Connector / LOOK Architects
- Village on the Building / Naf Architect & Design
- Versatile Hanbok Creates Space / Farming Architecture
- Christchurch Botanic Gardens / Pattersons
- Stefano Boeri Architetti Wins Competition for First Dutch Vertical Forest
- SP Residence / Fernando Weber
- Parque da Gare / ACXT
- Foster + Partners-led Apple Store Transformation of DC's Historic Carnegie Library Gets Greenlight
- Hawaii Residence / Olson Kundig
- How OMA's First Project in Shanghai Acts As a Connecting Element for the City
- Madreselva Building / Vicca Verde
- Cobogós: A Brief History and Its Uses
- See How This Lightweight, Collapsible Aluminum Structure is Built
| Shortlist Revealed for World Architecture Festival Awards 2017 Posted: 06 Jul 2017 10:05 PM PDT  The World Architecture Festival has announced the shortlist for their 2017 awards slate, featuring 434 projects ranging from small family homes, to schools, stations, museums, large infrastructure and landscape projects. The world's largest architectural award program, the WAF Awards year saw more participation this year than ever before, with a total of 924 entries received from projects located in 68 countries across the world. At the 2017 World Architecture Festival in November, the shortlisted teams will be invited to present their designs to a jury of more than 100 international judges, who will determine the best projects within 32 completed and future project categories. These finalists will then move on to present to the 2017 Super Jury who will determine the winners of for the 2017 World Building of the Year, Future Project of the Year and Landscape of the Year. COMPLETED BUILDINGSCivic and Community  Civic and Community: Neri&Hu Design and Research Office / Suzhou Chapel. Image Courtesy of WAF
Culture  Culture: AL_A / Museum of Art, Architecture and Technology. Image Courtesy of WAF
Display  Display: CR Institute of Architectural & Urban Design / Zhuhai Opera House. Image Courtesy of WAF
Health  Health: Iredale Pedersen Hook Architects / Fitzroy Crossing Renal Hostel. Image Courtesy of WAF
Higher Education & Research  Higher Education: CEBRA / Experimentarium. Image Courtesy of WAF
Hotel & Leisure supported by GROHE  Hotel and Leisure: Vo Trong Nghia Architects / Atlas Hotel Hoi An. Image Courtesy of WAF
House  House: Vo Trong Nghia Architects / Binh House. Image Courtesy of WAF
Housing supported by GROHE  Housing: BIG - Bjarke Ingels Group / Urban Rigger. Image Courtesy of WAF
Mixed-use supported by ABB & Busch-Jaeger  Mixed-Use: Archipedia / Paragon. Image Courtesy of WAF
New & Old  New and Old: UUfie / Printemps Haussmann. Image Courtesy of WAF
Office  Office: Zaha Hadid Architects / Port House. Image Courtesy of WAF
Production, Energy & Recycling  Production, Energy & Recycling: C.F. Møller Architects / Greenwich Peninsula Low Carbon Energy Centre. Image Courtesy of WAF
Religion  Religion: WTA Architecture and Design Studio / The Chapel of St. Benedict and St. Scholastica. Image Courtesy of WAF
School  School: Mandviwala Qutub & Associates / Wockhardt Global School. Image Courtesy of WAF
Shopping  Shopping: ACME / Victoria Gate. Image Courtesy of WAF
Sport  Sport: HKS - U.S. Bank Stadium. Image Courtesy of WAF
Transport  Transport: Zaha Hadid Architects / Salerno Maritime Terminal. Image Courtesy of WAF
Villa  Villa: Bernardes Arquitetura / Triangle House. Image Courtesy of WAF
FUTURE PROJECTSCivic  Civic: Tabanlioglu Architects / Husame Koklu Women's Community and Production Center. Image Courtesy of WAF
Commercial Mixed- Use supported by Miele  Commercial Mixed-Use: Archetonic / Zentral. Image Courtesy of WAF
Competition Entries  Competition Entries: Allford Hall Monaghan Morris / The Universal Tower. Image Courtesy of WAF
Culture  Culture: Rørbæk og Møller Arkitekter / Maritime Museum. Image Courtesy of WAF
Education  Education: Pace / Kuwait University, Central Administration Facilities. Image Courtesy of WAF
Experimental  Experimental: 3deluxe Transdisciplinary Design / Sharjah Observatory, Mleiha National Park. Image Courtesy of WAF
Health  Health: Haptic Architects & Nordic - Office of Architecture / London Cancer Hub. Image Courtesy of WAF
House  House: noa* / Edersee. Image Courtesy of WAF
Infrastructure  Future Projects Infrastructure: Brommy New Footbridge by SPANS Assosciates. Image Courtesy of WAF
Leisure-led Development  Leisure-led Development: Sordo Madaleno Arquitectos / Hotel Tulum. Image Courtesy of WAF
Masterplanning  Masterplanning: White Arkitekter / Södra Skanstull. Image Courtesy of WAF
Office  Office: 3XN Architects / Cube Berlin. Image Courtesy of WAF
Residential supported by GROHE  Residential: Jean-Paul Viguier et Associés / Hypérion. Image Courtesy of WAF
Landscape  Landscape: P Landscape / Garden of the Mind. Image Courtesy of WAF
Small Projects Prize  Small project prize: Matsuya Art Works and KTX archiLAB / The Cutting Edge Pharmacy. Image Courtesy of WAF
 Small project prize: Alison Brooks Architects / The Smile. Image Courtesy of WAF Best use of Colour Prize Supported by Eastman
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| Ventilation Towers for the Northern Link / Rundquist Arkitekter Posted: 06 Jul 2017 08:00 PM PDT  © Kasper Dudzik
 © Robert Andersson Background As part of the development of the Northern Link in Stockholm, &Rundquist has designed two ventilation towers, located in different areas within the National City Park in Stockholm, one at Frescati and another in Värtan. Their function is to ventilate the air from Northern Link's traffic tunnel and to reduce the emission levels at its entrances. Being placed within the National City Park, the towers' design in relation to the park environment is very important.  © Robert Andersson Concept, Material and Geometry The towers are made in wood in order to relate to the park environment while challenging preconceptions about how technological functions are usually designed. The idea of using a natural and site adapted material like wood throughout, and not just as a cladding material, has great symbolic value for the Northern Link project.  © Kasper Dudzik The towers have been optimized to function in interplay with the architectural form. Wood as a natural material represents both low tech and high-tech, embedding cutting edge timber engineering from design to fabrication and construction. The construction is 20 m high and is shaped as a super-triangle that pivots upwards, along its axis. The internal geometry and structure helps optimizing the exhaust air flow; the larger space at the bend into the tower and at the top, where the triangle sections are wider, reduces the air resistance at the exit.  Top View The twist gives the towers a sleek and interesting expression, suggesting the shape of the air movement. The towers are clad with horizontal cedar sheets which follow the swiveling shape, accentuate the sculptural impression and create a varied image that change over time and with the viewing angle.  © Kasper Dudzik Production and Construction The towers were parametrically 3d modelled to allow optimization and adjustments throughout the design process.  Production Process The different constructive components have been picked out from the model, labeled and sorted out as workpieces in an automated process before the files were exported to the CNC machine that milled the parts out of cross laminated spruce panels. The elements have then been delivered on site and combined into super triangles stacked on each other and tensioned together by vertical tie rods of steel that were fitted with springs to avoid tear of the structure when the wood moves.  © Kasper Dudzik Function & Geometry The towers' function is to divert the polluted air inside the Northern Link traffic tunnels to reduce emission levels at the tunnel entrances. An underground duct connects each tunnel with the corresponding tower. Fans of the channel have been designed to create a specific airflow through the ventilation towers for emissions at tunnel portals will be sufficiently low. The tower's interior geometry and structure affect the resistance for the outflowing air and thus the air flow. The towers have been optimized to function in harmony with the architectural form.  Model  Exploded Axonometric  Model  This posting includes an audio/video/photo media file: Download Now |
| House S Lake Starnberg / Stephan Maria Lang Architects Posted: 06 Jul 2017 07:00 PM PDT  © Marc Winkel
 © Marc Winkel From the architect. On a sloping site oriented to the morning sun the house is hovering with its widely levitating roof anchored to the ground by 3 stone volumes. The white coated slabs with floor to ceiling sliding doors in between create an image like a yard in a light breeze.  © Marc Winkel The Indoor outdoor living with lots of friends, enough space for entertaining and the maximum input of sea view and evening sun hiding early behind the Hilltop made up the decision to have the Living area in the second floor at street level.  © Marc Winkel You enter the house in the upper level through a 4 meter high entrance hall. A big western facing window over the entrance door marks the entry in the widely closed street façade. At night the classic artichoke Light of Poul Henningson is a magic focus point for the visitors.  © Hans Kreye Opposite the entrance hall is the more private living space with a view to Lake Starnberg.  © Marc Winkel Adjacent to the right is the huge kitchen area overlooking the lake with the mountains in the background. Sky frame sliding Glass door system allows to melt the space to a huge terrace under the dramatic levitating roof subtle lit at night. A big chimney is the heart of the Mountain View terrace which terminates in the infinity pool overlapping free into the garden.  Ground Floor Plan  First Floor Plan A hidden stairway leads to the lower first floor and the water sunken courtyard, which is an invention to let light in the hill facing guest and bathrooms. The sleeping rooms in this very private area are facing the garden and are connected bay wooden terraces.  © Hans Kreye In the whole house we tried to use a simple but sophisticated material and color concept.  © Marc Winkel White walls to present a photo art collection, maple for floors and furniture and Kehlheimer local Limestone for bathrooms and chimneys. The well determined detailing creates an atmosphere of sensitive luxury.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 06 Jul 2017 05:00 PM PDT  © Nobutada Omote
 © Nobutada Omote From the architect. KOHTEI is an art pavilion built in Shinshoji Zen Museum and Gardens within the campus of Tenshinzan Shinshoji temple in Fukuyama-city, Hiroshima, Japan. The temple was founded by the shipbuilding company to console the spirit of the dead in accidents at sea and industry. Visitors can expect a memorable Zen experience at the complex. KOHTEI offers the visitors an opportunity to contemplate spirit of Zen by looking at its landscape/gardens and being subjected to a meditation like experience through its art installation. The building is designed by Japanese contemporary artist, Kohei Nawa and SANDWICH. The architecture within SANDWICH was directed by Lee Yoshitaka and Yuichi Kodai.  Location Plan The approach from a seamless and minimal footbridge, provides the visitor with a breathtaking first impression. Kohtei's distinctive form was inspired from the roots of temple's establishment which led to create a building that resembles the motif of a ship. It is "an architecture that floats on waves surrounded by mountains" and is themed to work with three fundamental materials "Wood","Stone" and "Water".  © Nobutada Omote ~ The ship-shaped building, covered with wood shingles that uses the traditional Kokera roofing technique floats above the stony landscape. Walking through the ocean of stones, full of materiality, one goes up the gently sloping walkway to reach the entrance of the building. Upon entering the interior, a quietly rippling ocean with glimmers unfolds in the darkness. ~ Kohei Nawa  © Nobutada Omote  Cross Section  © Nobutada Omote The body of the pavilion is entirely covered with Sawara wood (Japanese cypress) that seems to hover above the landscape creating underneath a piloti space. The woodwork on the roof was laid using Kokera-buki, a traditional roofing technique that is available in Japan for thousands of years. This is a kind of shingle roofing where instead the tiles are 100mm x 300mm x 3mm thick, and 9 layers of tiles are fixed with bamboo nails making one roof compound. In total, 340,000 pieces were laid by the16th generation roofing master based in Kyoto. For the soffit, 250,000 pieces of 100mm x 100mm Sawara wood tiles were used in order to give a monolithic appearance to the pavilion. The experience of standing underneath such space enhances the stark materiality of the landscape against the airy contours of the wooden roof. Surrounding views are framed and visitors can experience ever changing sceneries.  © Nobutada Omote The stone landscape represents the ocean in which the ship smoothly floats. The rugged stone has a high content of iron that rusts over the time. It was brought from nearby quarries unrefined and in its original state just as the dynamite blasted it off the face of the cliff, where each stone varies in size and shape, and its sharp edges provide a strong effect of contrasting light and shadow to the surrounding landscape. The path guides the visitors through the landscape, garden and building providing them with one seamless experience, allowing them to perceive the building in its multiple aspects.  © Nobutada Omote The path gradually leads the visitors into the interior of the vessel-like roof through a small entrance where one finds an installation spreading in the darkness. The installation represents the immensity of the ocean and visitors can experience meditation while observing the shimmering lights reflected on the quietly rippling water waves. The darkness together with the faint sound of the room, curiously sharpens the visitor's vision and auditory senses.  © Nobutada Omote  Longitudinal Section  © Nobutada Omote Each individual will sense the meditative time and space differently. It was not intended to directly express Zen, but visitors retain the memories of their visit and have the opportunity to consider the sensibility and philosophy of Zen. KOHTEI is a structure that exterior, interior and underneath space reflects the enfolding experience of being in the mountains, creating work that combines both physical and mental experiences. KOHTEI aims to generate creative expressions of inseparably integrated architectural functions: the reality created by the materials and textures, and the experiences they engender.  © Nobutada Omote  This posting includes an audio/video/photo media file: Download Now |
| China Fuzhou Jin Niu Shan Trans-Urban Connector / LOOK Architects Posted: 06 Jul 2017 03:00 PM PDT  © Zhou Yue Dong
 © Zhou Yue Dong From the architect. A first-of-its kind elevated steel pedestrian walkway system weaving through forested areas in China, Fuzhou Forest Walkway spans over 6.3 kilometres from end to end, threading through the full breadth of Jinniushan and covers about 19 kilometres along its winding path. A signature urban connector network that provides public accessibility to indigenous hinterland stretching north- east of Minjiang, Fudao signifies an awakened consciousness to improve lives of city dwellers by bringing nature within closer reach.  © Zhou Yue Dong  Demonstrative Site Plan  © Zhou Yue Dong One of the greenest cities in China, Fuzhou is capital of Fujian province, sometimes referred to as Rongcheng or 'banyan city', famed for the numerous banyan trees that line its streets. Together with mountainous geography and picturesque man-made lakes, the charm of Fuzhou's natural beauty is undisputed. Nonetheless, accelerated urban growth has diminished the coverage of forested zones – Jinniushan is one of the larger green lungs situated within downtown.  © Zhou Yue Dong Hemmed in by military camps and a few burial sites, many parts of Jinniushan have been inaccessible to the general public and left largely untouched. As part of the implementation of Fudao, environmental enhancement works include construction of a modern columbarium complex for rehousing the exhumed graves, rehabilitation of an abandoned quarry site for a new visitor's centre and conversion of an existing bus depot into a main entry point, Xikezhan .  Walkway Axo There are a total of 10 entrances leading into the walkway network, each celebrated as a bold intervention into the existing urban grain. At Xikezhan, the existing bus depot will be transformed into a food and beverage enclave, its accessible landscaped roof deck linking the adjoining "Cliff walk", breath- taking cantilevered step platforms wedged into an existing cliff face about 20 storeys tall.  © Zhou Yue Dong  © Zhou Yue Dong For another entrance situated at the open plaza of existing Jinniushan indoor sports hall, a stately spiral ramp measuring 24 metres across its diameter is introduced, announcing the transition from flat urban plain to hilly forested terrain. At the northern tip, connectivity to Meifengshan Park has expanded the design brief to include master planning for the future commercial hub encapsulating approximately 30,000 square meters of gross floor area.  © Zhou Yue Dong Conveniences such as rest shelters, viewing decks, observation towers and teahouses with washroom amenities are interspersed throughout the elevated walkways, laid at a gentle gradient not exceeding 1:16 for barrier- free accessibility. An intelligent walkway network equipped with WIFI connectivity, touch-screen information boards and visitor traffic monitors, Fudao has the potential to set a new national benchmark for eco-routes.  © Zhou Yue Dong Comprising 8 basic deck components that can be stitched together in various permutations, the walkway network is an all-terrain modular system with the capability of negotiating undulating topography. Efficient design allows for a long span of 14.4 metres between supporting columns, minimizing the construction footprint. This is an important consideration for Fuzhou municipal officials, whom has accorded top priority to the conservation of existing ecology. Use of steel grating for the walkway decks serves to bring natural light down to the ground plane, encouraging low-lying plants to thrive.  © Zhou Yue Dong To ensure seamless connectivity, an overhead bridge straddling across an existing vehicular arterial Honggan Road has been designed, a stunning icon with a column-free span of over 72 metres. The raked profile of parapet screens serves to increase the bridge structure's porosity, to better withstand high wind loads in the vicinity. Engaging the unique character of the existing site context, various segments of the walkway network add up to an enduring expressiveness.  © Zhou Yue Dong The demonstrative stretch of Fudao – stretching 1.2 kilometres, including the entrance spiral ramp next to Jinniushan indoor sports hall – has been newly completed and is well received by municipal leaders. While the demonstrative stretch will soon be opened to public as a preview of the overall master plan in the pipeline, works will be continuing for the rest of Fudao, targeting substantial completion in another year's time.  © Zhou Yue Dong  Spiral Ramo Axo The immense scale of the project has been an eye-opener and the team at LOOK Architects has found the design challenges involved most gratifying to surmount. Embracing the philosophy of bettering lives through design, the team has aspired to spread this optimism beyond our shores, and to create a positive impact on future development of the city of Fuzhou.  © Zhou Yue Dong  This posting includes an audio/video/photo media file: Download Now |
| Village on the Building / Naf Architect & Design Posted: 06 Jul 2017 01:00 PM PDT  © Toshiyuki YANO
 © Toshiyuki YANO From the architect. Office building project in Central Tokyo. In Central Tokyo, where the land price is high and building restrictions are severe, the framework of project is often determined routinely by economic efficiency and legal aspect; securing maximum regular-shape floor area for rent and maximum building volume within sun shadow control and setback-line limit.  Diagram This approach is inevitable in light of cost effectiveness to the invested sum, but we hoped following ideas would give a bit of freedom to the project by composing the entire building with hut-like buildings and a main cuboid building:  © Toshiyuki YANO – To make the most of four corners of the premises by placing the hut-like buildings in space where the usage is free from routine formula.  © Toshiyuki YANO – To activate, in return, the usage of the main part of building whose form has been determined by hut-like buildings.  © Toshiyuki YANO Hut-like buildings, with dark brick tile finish, are placed in the narrow space between the main building and border of premises or on the rooftop of the main building where it does not violate sun shadow control. These are three building volumes which have irregular floor area and low ceiling to be rented, thus treated as additional space; an entrance gallery on 1st floor, a guest room on 4th floor and a meeting room on 5th floor which are connected by exterior stairs through balcony.  © Toshiyuki YANO Main part of the building is office space for rent with light brick tile finish. Floors are connected by only elevator, excluding interior stairs to gain maximum floor area for rent. Higher floors have balcony in tiers due to Sun Shadow Control regulation, reducing the floor area, however, large openings with sash windows toward balcony create openness and continuity.  © Toshiyuki YANO  This posting includes an audio/video/photo media file: Download Now |
| Versatile Hanbok Creates Space / Farming Architecture Posted: 06 Jul 2017 12:00 PM PDT  © Kyungsub Shin
 © Kyungsub Shin From the architect. The Chinese character 韓, which Koreans pronounce as han, is often prefixed to words related to traditional cultural identity of the Korean nation. Think of hanbok (traditional garments), hanshik (Korean food), and hanok (traditional-style buildings), and you can see that han is synonymous with the traditional way of life that continues to shape Korean culture. Countless fashion designers, architects, artists, and other creative individuals still strive to understand, explore, and define what it means to be "Korean" in their respective arts and disciplines.  Plan I was personally involved in this activity when I was put in charge of designing the space for a special exhibition entitled Baram-Baraem, by the celebrated hanbok designer LEE Younghee, last year. This was also when my interest in Korean concepts of boundary spaces grew. My goal was to create an exhibition space that would best capture and show the unique characteristics of hanbok. During the 10 months or so I worked on it, which began with the careful conceptualization and planning of the exhibition space, I searched around for new perspectives on the hanbok. The more I thought about the hanbok the more it struck me as both familiar and strange. I deliberately avoided falling into the trap of putting on a conventional fashion exhibition as often found in the United States and Europe. Yet I also wanted to avoid presenting hanbok in the highly stylized and almost taxidermy-like way – the way in which it is often displayed at museums and tourist folk villages across Korea. I wanted to find the most creative, formative, spatial and material elements that would best express the nature and value of the hanbok. In other words, I wanted to shed light on the potential of the hanbok from an architect's perspective, based not on simple and familiar redisplay, but on reinterpretation. The main theme of the space was "The Versatility of the Clothes of Nature: Hanbok." Nature stands opposite to planned order. Nature is unpredictable and free. Unlike Western attire, which values stylish looks over the wearer's comfort, the hanbok takes after nature with an aesthetic style that is appreciated more when worn than seen. The "clothes of wind," designed by LEE, captures the versatile form and structure of the hanbok in a particularly stylish way.  © Kyungsub Shin The clothes of win d are clothes that abandon tradition to give tradition new life. These clothes change their shapes according to the movements of the wearer, and return to a single plane when unfolded. - LEE Younghee  © Kyungsub Shin Many make the mistake of equating the Korean aesthetic with the tranquil and the static. In reality, the Korean sensibility is constantly changing, versatile, and dynamic. The hanbok and hanok both share and adaptability that welcomes the free movements of natural wind. Like the forests and building change their colors and looks dramatically from season to season. Traditional Western architecture has clearly defined rooms that are meant for specific functions. The daecheong-maru and the madang of hanok, by contrast, serve as space across which various functions and activities can flow and continue seamlessly. Both the hanbok and hanok feature open structures that admit ample wind and sunlight so that wearer and the inhabitant can fully experience the changes of the seasons.  © Kyungsub Shin The flexibility of the hanbok resides in the spaces between the sheets, the clothes, and the wearer's body. The hanbok captures not only formative aesthetics, but also has a practical flexibility. Other types of attire worldwide emphasize the fit, but the hanbok uniquely prizes the space between the wearer's skin and the clothes. This space gives far more room and freedom to the wearer's body than, say, a well-tailored business suit does. The hanbok, in other words, values the psychological and physical comfort of the wearer above all else. The traditional hanbok skirt is not something you wear, in the typical sense of the word, but something you wrap around your body. Wrap this sheet of fabric around you body, and you can freely adjust its shape by tightening of putting a ribbon or belt around your chest, waist, or stomach. Like hanok, the hanbok boasts a unique balance of beauty and functionality. The airy spaces between the wearer's body and the clothes enhance the adaptability temperature and humidity, as do the clay walls and paper windows of hanok. The spaces around the wearer's joints minimize friction, while the intricate balance of straight lines and curves convey an aesthetic akin to the shape of the traditional rooftop of a hanok.  © Kyungsub Shin The central feature of the exhibition space for conveying the beauty of the hanbok, as I envisioned, were "walls" made of two layers of semi-translucent organza, which is a delicate silken material. The layers of the organza simulated the fog and clouds that hang over the landscape of mountains and forests or rural Korea. Similar to the fabric used to make the skirt of a hanbok, the walls of organza allowed visitors to glide in between them. Such translucent walls were a perfect backdrop for the variety of hanbok garments and pieces on display. Just as a hanbok skirt creates a natural space between itself and the body of the wearer, these organza walls invited visitors to truly feel and enjoy a sense of the roominess and flexibility of the hanbok. The labyrinthine route designed for visitors to take resembled the natural creases in the hanbok, naturally inviting multiple and diverse perspectives as visitors traversed the translucent organza-lined pathways, which gradually grew shorter toward the end. The hanbok on display were sorted and arranged according to color, shape, material, and translucence. Neutral colors, such as grey and charcoal, were important elements of this space to convey the flexibility of the hanbok. My semi-translucent walls caught a wide range of colors according to the changes and directions of light because I wanted to reflect the wide spectrum of colors of natural-dyed hanbok fabrics. Once visitors had toured the entire collection between the fabric walls, they ended up in an empty space resembling a madang, with a group of mannequins wearing pret-a-porter and haute couture. The vacant space was inspired by bojagi, the pieces of fabric Koreans traditionally used to wrap and carry things, and, like its inspiration, this space was versatile and for many uses. It was important not to overcrowd this area. I wanted an amorphous, versatile space in which the spirit of hanbok could be celebrated through various performances, hanbok-themed lectures, and workshops. When none of these activities were taking place, the empty space provided a great spot from which visitors could take in the entire view of the exhibition.  © Kyungsub Shin When naked, I become on with nature.  © Kyungsub Shin We like to say clothes are our second skin. In this project, I envisioned hanbok as something encompassing not just clothing, but also useful spaces. It seemed fitting for such roomy, dynamic, and breathing garments to form the basis of the exhibition design for people to walk through. The spaces, folds, and translucence in between the layers of fabrics that make up hanbok reflect the wisdom of past generations of Koreans who sought to emulate nature. The paths throughout the exhibition space provide a panorama of the history of this remarkable traditional attire. With my design, the concept of hanbok was no longer confined to wearers but formed the surrounding exhibition space and filled it with flexible and free-flowing beauty.  © Kyungsub Shin  This posting includes an audio/video/photo media file: Download Now |
| Christchurch Botanic Gardens / Pattersons Posted: 06 Jul 2017 10:00 AM PDT  © Simon Devitt
 © Jeremy Toth From the architect. The Christchurch Botanic Gardens lie within a 21ha loop of the Avon River and is the cities most visited public space. The newly developed centre is regarded as one of the most significant new build projects since the 2011 Christchurch Earthquake and extends the garden's ability to undertake research, conservation and run educational activities as well as demonstrate the beauty, variety and complexity of the plant world. The primary purpose of the architecture is to connect people and plants by housing people and fauna in a greenhouse conservatory environment. The building draws on the long tradition of garden glasshouse structures used as exhibition spaces.  © Simon Devitt The layered form brings together the public facilities of a visitor's centre with the Gardens functioning greenhouse and research facilities. It is conceived as a series of deep thresholds, the first layer is public spaces and includes visitor information desk, café and shop. This is orientated to draw people through its long gallery space as they walk the perimeter path of the gardens.  Design Plan 4 The second layer is a semi-public space, a threshold where the garden staff, private functions, exhibition spaces and green house guided tours interact. This layer includes the greenhouse and shade-house, research laboratories, propagation rooms, library, exhibition and multi-purpose conference room. These specialised rooms, each with their own specific thermal and atmospheric conditions are housed as cell-like pods within the greenhouse structure.  Design Plan 2 The third layer is for the garden staff and non-visible operational spaces hidden behind mirrored glazing. This operational area encloses a long service courtyard flanked by utility sheds serving the gardens.  Design Plan 3 The building's crystalline glass form has been developed from a modular commercial greenhouse system. The building plays with transparency, mirrored reflection and the layering of fritted glass to display the workings of a botanic garden while subtly providing staff-only areas.  © Simon Devitt The glass ceilings and skylights form a varied, leafy-like canopy shedding dappled light to the interior. This is supported on an economical structure modified where the roof module is manipulated with an invented fold to form a unified wall, floor and ceiling geometry.  This posting includes an audio/video/photo media file: Download Now |
| Stefano Boeri Architetti Wins Competition for First Dutch Vertical Forest Posted: 06 Jul 2017 09:00 AM PDT  © Imaginary A2 / Stefano Boeri Architetti Stefano Boeri Architetti's next vertical forest project will be found in Utrecht, after the firm was selected as winners in an international competition for the construction of a new urban district in Jaarbeursboulevard. Dubbed the "Hawthrone Tower," the first Dutch Vertical Forest will be one of two new high-rise towers to rise on the site in the Utrecht city center, located near the Utrecht Central Train Station, alongside a tower designed by Amsterdam-based MVSA studio. The 90-meter-tall tower will be covered by 10,000 plants of different species (360 trees, 9,640 of shrubs and flowers), aimed at creating "an innovative experience of cohabitation between city and nature." The green facade will allow Hawthorne Tower to absorb more than 5.4 tons of CO2, scrubbing the air for healthier living conditions for both residents of the tower and the wider city.  © Imaginary A2 / Stefano Boeri Architetti On the ground floor, the Tower will house the "Vertical Forest Hub," a research center for the implementation and education of urban forestation worldwide. The space will be open to the public, allowing passersby to see the technical and botanic strategies employed in the tower's design and to track the progress of other Vertical Forest projects under construction across the globe. An elevator will connect the space directly to a 6th floor roof garden, where the plantings and architecture can be viewed up close.  © Imaginary A2 / Stefano Boeri Architetti  © Imaginary A2 / Stefano Boeri Architetti The form and finishes of the building have been designed to create a dialogue with the surrounding city – the tower steps back from the street to enhance its visual dimensions and allow for abundant light. Program elements will include offices, fitness and yoga areas, bike parking and public leisure space, aimed at becoming the "new healthy center of Utrecht."  © Imaginary A2 / Stefano Boeri Architetti  © Imaginary A2 / Stefano Boeri Architetti The Utrecht Vertical Forest follows other urban forestation projects designed by Stefano Boeri Architetti, including the Tower of Cedars in Lausanne, Vertical Forest in Nanjing and other green buildings planned for Paris, Tirana and Shanghai. Construction on Hawthorne Tower will begin in 2019, with estimated completion by 2022.
 © Imaginary A2 / Stefano Boeri Architetti  This posting includes an audio/video/photo media file: Download Now |
| Posted: 06 Jul 2017 08:00 AM PDT  © Alfonso de Béjar
 © Alfonso de Béjar From the architect. SP Residence occupies an approximately 4000 m2 site in Valle de Bravo, Mexico State, in a privileged enclave surrounded by woodlands. The residence sits on a slightly sloping site at its highest point, with a southern exposure that frames optimal views.  © Alfonso de Béjar  Plan  © Alfonso de Béjar Given the spectacular natural setting, it was of paramount importance to design a house of light, simple conception that would not upset the area's innate harmonies. An L-shaped floor plan was chosen that established both a daytime wing (home to the kitchen, utility room, living-dining room and terrace) as well as the nighttime counterpart (featuring four bedrooms). An equally simple structural system is based on a concrete "skeleton" within which the residence is constructed. Exterior wood walls echo the material conditions of the site, emphasizing a contrast to the structure. Within this subtle composition of façades, the roof above the living-dining area is especially notable; its height and lightness privilege this area of the house.  © Alfonso de Béjar  This posting includes an audio/video/photo media file: Download Now |
| Posted: 06 Jul 2017 06:00 AM PDT  © Pau Iglésias
 © Marcelo Donadussi From the architect. The Parque da Gare, created in the 80s, is located next to an old railway station. The derelict state it was in and the fact that it was located right in the centre of the city of Passo Fundo motivated the council to start a project for its comprehensive urban and landscape revitalization keeping some historical and natural aspects, but under a new design for the park and introducing new infrastructures. This would be the case of the farmer's market, which would take over the one which had been running on the plot of the old station, a restaurant with an information desk included which would improve the role taken on by a small outdoor bar, a bathing and maintenance area and, lastly, a multipurpose library area located in the lowest part of the park, next to the lake, fully integrated into the design.  © Marcelo Donadussi The urban area is designed so as to generate both areas for coexistence and contemplation. The urban intervention differentiates the inside of the park, where concrete is used for paving, from the outside, where regional stone is used, as in the rest of Passo Fundo. This creates a link between the city and the new park.  © Marcelo Donadussi Plus, several retaining walls, bridges, footbridges and buildings were erected in order to overcome some barriers, derived from the complex topography, and to organise the space.  Scheme Along the paths, the different materials appear gradually: timber, cement…These spatially organise the park and its uses. Children's games and pergolas are also incorporated.  © Pau Iglésias LANDSCAPE DESIGN  © Pau Iglésias The design of the urbanised area maintains that same purpose. Hence, beside the lake, small boulevards are lined with short trees, in a South-North arrangement, in order to reduce shade and increase the oxygenation of the water and colourful trees are placed to contribute a chromatic difference from the constant green.  Implementation Given the high number of pre-existing trees, new specimens are planted in certain areas with the idea of generating a certain homogeneity and of organising the different zones. Lawn areas are also generated for the hosting of all sorts of activities.  © Marcelo Donadussi FARMER'S MARKET BUILDING  © Marcelo Donadussi Given the climate conditions of Passo Fundo, the building houses all its programme inside and keeps a direct connection with the two parallel streets and the adjacent parking zones, which include loading bays and parking for customers. The inside is organised by ramps into three areas at different levels. The first one, linked to the Sete de Setembro Avenue, is destined for toilets, stockrooms and building services rooms. Going down the ramp we find a second intermediate area where the food is located. It's linked with the park through the East entrance. The lower level corresponds to the cool area and the access from the Rua Capitão Bernardo and the parking area.  © Pau Iglésias  Cross Section  © Marcelo Donadussi The building has a mixed structure made of concrete and metal. The concrete corresponds to the base, in contact with the soil, and in turn is made up of pillars, beams, retaining walls and prefab slabs. This structure offers support to the metal one, which spatially organises the building's envelope by means of pillars and beams for the sides and the roof. This generates a great central space, free from pillars. The roof is the result of metal mesh placed over metal trusses and the envelope, thus creating continuity between the façade and the roof.  © Pau Iglésias The openings in the façade serve ventilation and illumination purposes. Their layout grants a certain rhythm to the longer elevations.  © Pau Iglésias The great openings on the upper part of the building generate spatial continuity between the inside and the exterior.  © Marcelo Donadussi THE LIBRARY  © Pau Iglésias The lower part of the building is made of reinforced concrete. Given the slab that covers it (intermediate slab from the library), a uniquely shaped prism is developed with a metal structure and a masonry envelope that includes some glazed surfaces.  Isometric The ground floor contains the functional core that concentrates the wet areas, with public toilets, the exterior staircase that leads up to the upper floor and the required infrastructure for the outfitting of a small restaurant. All these uses are concentrated next to the retaining wall, leaving a great sheltered area beside it which can host all sorts of events.  © Marcelo Donadussi The upper floor is organised as a multipurpose area, to be used as a digital library. It also includes a small toilets cluster and a reception, and entrances on either side. The idea is for it to be used in conjunction with the existing plaza on the upper level.  © Marcelo Donadussi  This posting includes an audio/video/photo media file: Download Now |
| Foster + Partners-led Apple Store Transformation of DC's Historic Carnegie Library Gets Greenlight Posted: 06 Jul 2017 05:30 AM PDT  Early renderings of the design. Image via 9to5 Mac Plans for Apple's next flagship store, to be located within the historic Carnegie Library at Mount Vernon Square in Washington, D.C, have been approved by the District's Historic Preservation Review Board (HPRB). The project comprises both an interior/exterior restoration and renovation of the 63,000-square-foot Beaux Arts library, which was constructed in 1903 and added to the National Register of Historic Places in 1969. The plan will allow the library to be shared by Apple and the building's existing tenant, The Historical Society of Washington. The 2-story Apple store will be located on the first floor and basement levels of the building, and will be designed by Foster + Partners, continuing their collaboration with the tech giant.  Early renderings of the design. Image via 9to5 Mac Restoration efforts will be led by New York's Beyer Blinder Belle, and will include the reversal of earlier renovations, including a rooftop over the original skylight and the conversion of a reading room into a theater. Opening up the interiors to better light, partitions in the library's stacks will be removed, and ceiling in the Great Hall will be redesigned to create an atrium. "This new space, which will feature a massive video screen, new wall openings on both levels, and circulation "bridges" connecting the upper floors, will significantly alter the historic layout and character of the interior," a report from Historic Preservation Office (HPO) stated.  © <a href='https://commons.wikimedia.org/wiki/File:2008-0601-DC-CityMuseumCarnegieLibrary.jpg'>Wikimedia user Bobak Ha'Eri</a> licensed under <a href='https://creativecommons.org/licenses/by/3.0/deed.en'>CC BY 3.0</a>. Image © Wikimedia user Bobak Ha'Eri licensed under CC BY 3.0 Other changes will include the addition of a rounded grand staircase on the building's north facade, the the removal of a central pillar in the entryway that will create space for a glass entrance. News via Architect's Newspaper, 9to5 Mac.
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| Hawaii Residence / Olson Kundig Posted: 06 Jul 2017 04:00 AM PDT  © Benjamin Benschneider
 © Benjamin Benschneider From the architect. This Hawaiian home is designed as several pavilions set in a lush tropical landscape.  © Benjamin Benschneider Inspired by the vernacular architecture of the Polynesian Islands, the majority of the living spaces are on the upper floors, providing inhabitants with a prospect of the ocean and refuge from the elements.  © Benjamin Benschneider  © Benjamin Benschneider On the ground floor, lava stone is used to visually anchor the buildings to the site and the broader landscape while referencing traditional island building. The structures feature exposed timber frames.  © Benjamin Benschneider Movable wooden louver screens and six 6' x 15' operable roof flaps combine to form part of the natural ventilation and sun shading strategies. Interiors are by RP Miller.  © Benjamin Benschneider  This posting includes an audio/video/photo media file: Download Now |
| How OMA's First Project in Shanghai Acts As a Connecting Element for the City Posted: 06 Jul 2017 02:30 AM PDT #donotsettle is an online video project created by Wahyu Pratomo and Kris Provoost about architecture and the way it is perceived by its users. Having published a number of videos on ArchDaily over the past two years, Pratomo and Provoost are now launching an exclusive column, "#donotsettle extra," which will accompany some of their #donotsettle videos with in-depth textual analysis of the buildings they visit. After a stop in Doha to visit IM Pei's Museum of Islamic Art, and a peek inside MVRDV's house office in Rotterdam, we are bringing you to Shanghai for our 3rd #donotsettle Extra column. Last week we visited OMA's first project in Shanghai, the Lujiazui Exhibition Centre, and had the privilege to get a sneak preview before it opens to the public in the next months. Please tag along!  Courtesy of OMA Connecting City and RiverThe building sits at the riverfront, but it also abuts the city edge. It forms the buffer between two elements defining Shanghai, a city bursting out of its seams on both sides of the river. As with many cities, the riverfront forms a delicate spot requiring special attention. On riverfronts, filled with history and heritage, architects and urban planners throw their concepts out into the open, and Shanghai is no different. Due to a strong desire to create a continuous riverfront trajectory on both sides of the river, construction is happening at speed. With constant drilling noises in the background, we were able to visit one of the buildings furthest along in its construction. Looking left and right sparks our curiosity over how this building will fit into the former Shanghai Shipyard development area. This exhibition center isn't just a building along the riverfront. It's bringing visitors into the city, and showcasing the city to visitors.  © Wahyu Pratomo and Kris Provoost Connecting Past and PresentLocated in what was once the large Shanghai Shipyard, the project uses the large gentle slope as the guideline for its design. The event spaces are built upon the existing ramp, and use its characteristics to shape the building around it: With the old slope connecting with a new slope descending in the opposite direction, the project connects the past with the present. Therefore, despite being a new building, this project fits within and expands OMA's preservation portfolio.  Courtesy of OMA Connecting Event SpacesMixing indoor with outdoor spaces, this rather small-looking project packs a lot of possibilities into a tight envelope. As with many OMA projects, it appears that the space in-between the structures both forms and uplifts the building. By using the slope to lift up the main event space, a series of secondary event spaces are created by the enclosed box. Underneath, adjacent to, and leading up to that main space are spaces that turn a single opportunity into a series of possibilities: the main space, by being raised, creates the chance to overlook the river; the space beneath forms a sheltered outdoor space; the space adjacent to it, on the slope, can be used as an outdoor cinema using the main box's façade as a projection screen. The space leading upward to the main space forms an auditorium. With a single architectural intervention, a series of spaces were created, making the space in-between almost more exciting than the main designed area.  © Wahyu Pratomo and Kris Provoost Connecting Industry with ServiceThe building stands out--that enormous cantilever makes sure of that. But moreso than the cantilever, the building's rough appearance, in contrast with the shiny and polished skyscraper facades in the background, marks it as something different to its neighbors. Showing the heavy structure, which makes a cantilever of that size possible, goes against what the skyscrapers do. Hiding all structure and camouflaging all technical equipment, the skyscraper presents an ideal image. This building doesn't do that--it does the opposite, in fact. Staircases, elevators and mechanical equipment is visible. This aligns with the previous function of the plot. Heavy industry once ruled this place, before it got pushed out by the service industry. The men in suits pushed out the men in hard hats. With this building a bit of that heritage is maintained. Is this OMA's way of keeping a legacy? (The building will however mostly be used by people in suits. Quite contradictory isn't it?)  Courtesy of OMA ConclusionAs with many of OMA's buildings a storyline becomes clear when observing and dissecting the project in detail. With a single gesture a storyline with subchapters is created. Multiple event spaces are created that will benefit both the building's users as well as the city's residents. The venue shows a lot of potential to become an important spot within the riverfront development. And we appreciate the roughness, a style that is becoming more apparent in the city structure. OMA, thanks for letting us into the building pre-opening! Shanghai LuJiaZui Exhibition Centre / OMA #donotsettle is a project about Architecture and Experience. Watch 100+ more videos related to Architecture on our YouTube Channel, or see what we are up to on Instagram and Facebook.  This posting includes an audio/video/photo media file: Download Now |
| Madreselva Building / Vicca Verde Posted: 06 Jul 2017 02:00 AM PDT  © Per Thomas
 © Per Thomas From the architect. Madreselva is a project that has been developed with a sustainable approach, where the economic, social and enviromental aspects are well balanced. As such, the product is more attractive for its quality, profitability and capital gain. The project has a timeless design, which respects the surrounding environment.  © Per Thomas  Isometric Section  © Per Thomas In addition, the interior offers a higher quality of life to its occupants, with a good distribution and large spaces. The common spaces are designed to generate armonic spaces where social interaction between neighbors could be developed.  © Per Thomas The project has considered the efficient use of materials and resources, that can help the building become friendly with the environment, from the first day of construction until the end of its life.  © Per Thomas This has been achieved through the use of recycled materials, with a low environment impact. In addition, gray water has been used for the irrigation of green areas in the building. In conclusion, the design improves the life of the building and lets the building operate with a low cost of maintenance.  This posting includes an audio/video/photo media file: Download Now |
| Cobogós: A Brief History and Its Uses Posted: 06 Jul 2017 01:00 AM PDT In the tropics, the sunlight falls generously. The leaked elements draw the shadow on floors and walls, an effect that transforms the entire environment for those who see it from the outside and inside. With the changing seasons and throughout the course of the day, natural light comes in different ways as it adds new components to architecture. In the course of the night, the artificial light passes through the small openings from the inside to the outside, making a sort of urban lamp that interacts with the shadows of its users and furniture. In addition to its function, the cobogó brings a certain poetic feel to any architectural project. Here, we have highlighted this Brazilian creation, to briefly shed light on its history and to present a selection of projects that adopt this element. A group of engineers - Portuguese Amadeu Oliveira Coimbra, German Ernesto August Boeckmann and Brazilian Antônio de Góis - were the creators of the "cobogó", an element that allows the entrance of sunlight and natural ventilation used in construction openings. The cobogó appeared in the 1920s, in Recife, and its name come from the combination of the first syllable of the last names of their creators. They are an inheritance of Arab culture, based on muxarabis - built in wood, were used to partially close the internal environments. Despite being created in Recife, the cobogó was spread by Lúcio Costa in subtle references to colonial architecture, becoming a compositional element present in the aesthetics of modern Brazilian architecture. Despite the visual permeability, cobogós, in a way, bring privacy to the user. Made of concrete and brick at the beginning, they began to be produced also in ceramics and other different materials. Following, are some selected projects which adopt the use of cobogó: Classics Conjunto Residencial Prefeito Mendes de Moraes (Pedregulho) / Affonso Eduardo Reidy  Courtesy of Nabil Bonduki Eduardo Guinle Park / Lucio Costa  © Nelson Kon New York Pavillion 1939 / Lucio Costa and Oscar Niemeyer  Courtesey of Carlos Eduardo Comas, via ArqTexto magazine n.16 Morumbi Residence / Oswaldo Bratke  Via Segawa and Dourado, 1997. Image © Chico Albuquerque Brazilian Architecture Cobogó House / Marcio Kogan  © Nelson Kon B+B House / Studio MK27 - Marcio Kogan + Renata Furlanetto + Galeria Arquitetos  © Fernando Guerra | FG+SG Casa Jardins / CR2 Arquitetura  © Fran Parente FDE Public School / FGMF Arquitetos  Courtesy of FGMF CHB Campinas F1 State School / MMBB Arquitetos  © Nelson Kon International Architecture  © Bruno Helbling Disfrutar Restaurant / El Equipo Creativo  © Adrià Goula Binh Thanh House / Vo Trong Nghia Architects + Sanuki + Nishizawa architects  © Hiroyuki Oki  © Rafael Gamo Other Elements Casa Los Algarrobos / MasFernandez Arquitectos + Claudio Tapia  © Nico Saieh Triana Ceramic Museum / AF6 Arquitectos  © Jesús Granada  © Maíra Acayaba  This posting includes an audio/video/photo media file: Download Now |
| See How This Lightweight, Collapsible Aluminum Structure is Built Posted: 05 Jul 2017 11:00 PM PDT  © Mrigank Sharma The geometric design of the 'Protostar Pavilion' for the launch of the new Mercedes-Benz E-Class is a morphological response associated with the iconic brand logo: a three-pointed star. The project is a removable metal pavilion, made up of a series of folded aluminum plates that besides generating a light structure, allow for a quick and easy construction. Description from the Architects. The Protostar Pavilion is in its constant state of metamorphosis and is presented in a specific instance frozen in time. The design process itself challenges the conventional thinking of materials and their properties. The process embraces high-end digital design and fabrication tools from the concept design to prototyping and fabrication stage.  © Mrigank Sharma During the installation process, the fabrication team utilized the ease of material and technology as an advantage in terms of assembly and structuring. The folded aluminum plates and flaps act as an integral part of the structural system and also enable several connection points for the assembly.   The project is a fully deployable structure that could be dismantled and assembled rapidly within hours. One of the constraints was that it had to be self-standing without any recourse to drilling / bolting into the existing premises.  The pavilion weighs only 450 kilograms, consists of 289 components, 1440 nut and bolt connections to complete the assembly.   The fabrication process is inspired by world class automobile engineering of Mercedes-Benz and is “truthful” (devoid of any ornamentation) both in terms of its machine aesthetic, assemblage and structural performance. In addition, the design echoes the tri-axial geometry of the Mercedes Benz iconic symbol and rests precariously on 3 points defying gravity and embracing flight.  © Mrigank Sharma  © Mrigank Sharma Architects: Nudes    This posting includes an audio/video/photo media file: Download Now |
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