Arch Daily

Plaza Cultural Norte / Oscar Gonzalez Moix
AD Classics: The Entenza House (Case Study #9) / Charles & Ray Eames, Eero Saarinen & Associates
Quiin House / 23o5studio
Amin's House / A1Architecture
DEEJ Factory / 5+design
7x7 House / IZ Architects
Dmytro Aranchii Architects Constructs Interactive Park on Top of Shopping Center
Margot Krasojević Designs Bridge That Sails Like a Ship
Parque Toreo / Sordo Madaleno Arquitectos
The Best Photos of the Week: Architecture in the Most Incredible Places in the World
This New App Wants to Answer All Your Building Code Questions
Skjervet Tourism Service Center/ Fortunen AS
Housing at St. Sebastian Church / Bolles + Wilson

Plaza Cultural Norte / Oscar Gonzalez Moix

Posted: 13 Aug 2017 10:00 PM PDT

Architects: Oscar Gonzalez Moix
Location: La Molina, Peru
Area: 450.0 m2
Project Year: 2016
Photographs: Ramiro del Carpio

Lima Architecture Team: Beatriz Rodriguez, Angela Leva, Rodolfo Rey, Daniela Chang, Jorge Sandoval, Betzabé Gutiérrez
Spain Architecture Team: Alejandro Esposito

Background
The municipality sought to reverse the neglect and danger that had taken root in the neighborhood through cultural promotion in this and other parts of the district. In response, the strategy was to preserve a few abandoned lots adjoining public parks by activating a creative process that involved park users, neighbors, the municipality and the environment. The project explores a silent, hidden architecture in order to build a social landscape that adds a proper, timeless and aesthetic sensibility to everyday life. In this manner, it sought a place of encounters, reflection, joy and wonder in a setting that blends with nature. The design materializes sensations, creates dreams, wishes and honors the craft of construction with local handwork adapted to new, contemporary experiences. It creates and contains a pause from a dizzying world within a space whose raw materials are defined by mass and light.

Location
The project was embedded in a lot adjoining the Palmar park, surrounded by a residential area with a welcoming scale, a mix of formal and informal construction that reveals an authentic self-image.

Concept
The creative process has a deeply rooted vocation to unsettle the timeless qualities in the nature of diverse culture. This is the source of inspiration for our memory, which conveys its mystique through the way light, material and space is used. The project sought to capture the primitive, essential and artisanal and take it to a contemporary tectonic dimension.

The main volume rests on the north east side of the lot, where an incision in the ground defines the space. The support elements that structure it receive with subtle nobility a series of exposed cement beams that respond to a pattern of functions. Element of closure include slabs of concrete with alternating inclinations are placed between the beams, as well as a green roof with generous views of neighboring buildings. The result is a volume that demonstrated economy of function, form and construction.

When observing the building from the front access, the spaces invites entry to its interior. After submerging in the latticework of concrete beams, upon crossing a path of many sensations and filtered light, the pause is automatically activated. The space was conceptualized as a transition and expansion of the workshops, administrative offices and services. The waiting areas, landing and games are developed at both ends of the main volume. The interior façade opens toward a patio, while the rear of the volume has a more closed façade, a patio garden suitable for several uses and an urban community garden.

Color
The vivid colors used in the rear of the volume sought to reflect the life of the place created, dynamic to the eyes to contrast with the static, closed façade. Transparency dominates the interior façade, where colors constantly change, defined by light, furniture and the users' movement. These are unified by an elegant, neutral architectural framework that clearly defines the depth and figure.

Materiality
In order to respond to the identity, culture and their expression in timeless qualities meant finding a materiality that accompanies, envelops and contains these ideas in a constructed form that sustains and overcomes the test of time. Without forgetting the context and the fundamentals of architecture as a discipline, the project proposes an image with a strong, tectonic presence that dissolves silently amidst the vegetation and finds its meaning and poetry in its being.

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AD Classics: The Entenza House (Case Study #9) / Charles & Ray Eames, Eero Saarinen & Associates

Posted: 13 Aug 2017 09:00 PM PDT

Case Study House No. 9. (1950) / Julius Shulman Photography Archive. Image © J. Paul Getty Trust. Getty Research Institute, Los Angeles (2004.R.10)

Nestled in the verdant seaside hills of the Pacific Palisades in southern California, the Entenza House is the ninth of the famous Case Study Houses built between 1945 and 1962. With a vast, open-plan living room that connects to the backyard through floor-to-ceiling glass sliding doors, the house brings its natural surroundings into a metal Modernist box, allowing the two to coexist as one harmonious space.

Like its peers in the Case Study Program, the house was designed not only to serve as a comfortable and functional residence, but to showcase how modular steel construction could be used to create low-cost housing for a society still recovering from the the Second World War. The man responsible for initiating the program was John Entenza, Editor of the magazine Arts and Architecture. The result was a series of minimalist homes that employed steel frames and open plans to reflect the more casual and independent way of life that had arisen in the automotive age.[1]

One of the houses built under the program was to be used by Entenza himself. His project was taken on by industrial designer Charles Eames and architect Eero Saarinen, a pair that had already worked collaboratively for years. Eames would design a house not only for Entenza, but for his own family as well; this house, Case Study House #8, would be sited on the same 1½ acre lot as Entenza's #9.

The two houses shared more than a site. Each house's frame was composed of the same structural elements: four-inch H-columns supporting twelve-inch open web joists. This structural system allowed the Entenza House to enclose as much space as possible within a minimal frame.[2] The roof above the house is a simple concrete slab, finished with birch strips covering the soffits. Only four of the steel columns are exposed within the house, while the rest are hidden within the walls.[3]

The dominant feature of the Entenza House is its vast, open-plan living room. Almost half the house is given over to it, the intention being to create a versatile public gathering space which could host either a party of almost forty people, or a gathering of only half a dozen. A large fireplace divides the room into both a wide, uninterrupted space and a more intimate one, providing accommodation for groups of either size. This ability to entertain varying numbers of guests was a primary driver behind the design of the house, thanks to the particular professional requirements of Entenza's journalistic career.[4]

The living room, already a full 36 feet wide, was made to feel even larger by the installation of floor-to-ceiling glass sliding doors along the length of the rear wall. The entire rear facade was glazed, connecting the interior space of the living room to the expansive backyard patio. From within the living room, one could see the Pacific Ocean framed by the narrow mullions of the windows and, further away, the trees dotting the backyard.

Aside from the living room, the Entenza House comprises a dining room, two bedrooms, two bathrooms, a kitchen, and a study. In stark contrast to the open and airy living room, the study was specifically requested by Entenza to be entirely closed, with no windows to invite distractions from the outside world.[5]

It is difficult not to make comparisons between the Eames and Entenza Houses; that the two sit within such close proximity of each other makes it almost inescapable. Beyond their shared structural typology, the two houses take radically different approaches to its application. The Eames House is, above all, a celebration of structure – the steel framework was on open display throughout the entire building.

In subtle contrast, the Entenza House makes almost no overt reference to its structural system. Most of the framework is hidden, with the effect that attention is focused on space and views instead of the building itself. It seems likely that Saarinen's influence was responsible for this more architectural form of design, distinguishing the collaborative effort from Eames' independent work on his own home next door.[6]

Entenza lived in his Case Study home for only five years after its completion in 1949. Since that time it has been purchased and inhabited by a series of different owners, each of whom has made their own alterations to the original design.[7] While its neighbor the Eames House has become the headquarters for the Eames Foundation, to this day the Entenza House remains a private residence.

A Virtual Look Into Eames and Saarinen's Case Study House #9, The Entenza House
This month's interactive 3D floor plan shows a simple and beautiful steel frame structure designed by Charles Eames and Eero Saarinen. The Case Study House Program, initiated by John Entenza in 1945 in Los Angeles, was conceived to offer to the public models of a low cost and modern housing.

Architects: Charles and Ray Eames, Eero Saarinen and Associates
Location: Los Angeles, United States
Architect: Eero Saarinen
Engineer: Edgardo Contini
Area: 1600.0 ft2
Project Year: 1949

References

[1] Curtis, William. Modern Architecture Since 1900. London: Phaidon Press Limited, 1982. p405.
[2] McCoy, Esther. Case Study Houses, 1945-1962. Los Angeles: Hennessey & Ingalls, Inc., 1977. p54.
[3] Koenig, Gloria. Charles & Ray Eames. Köln: TASCHEN GmbH, 2005. p41.
[4] McCoy, p54.
[5] Koenig, p42-43.
[6] McCoy, p55.
[7] Koenig, p43.

The photographs presented in this text of Case Study House No. 9 (Los Angeles, Calif.), 1950, have been reproduced from the J. Paul Getty Trust. Getty Research Institute's Julius Shulman Photography Archive. While reproduction has been granted, the copyright remains the property of the J. Paul Getty Trust. Getty Research Institute, Los Angeles.

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Quiin House / 23o5studio

Posted: 13 Aug 2017 08:00 PM PDT

Architects: 23o5studio
Location: District 6, Vietnam
Lead Architects: Ngô Việt Khánh Duy
Design Team: Hưng Trần, Mai Tiến Ninh, Sang Vũ
Area: 100.0 m2
Project Year: 2016
Photographs: KIngkien Photoghraphy

From the architect. Quiin - A person who loves simplicity, simplicity but rebellious. Quiin House is designed from interaction and mutual respect in work. Our mission in implementing the Quiin House project is to create a quiet, clean and inspirational space. A space where Quiin can comfortably reflect, create, craft a handmade or capture. So the only thing we think we need to provide in this project is "Cavity" and "Light".

With some urgent constraints in the minimal functional spaces and worship culture of the Chinese, in this project, we have tried to create a transparent space - the "invisible". Mostly through the design of functional blocks around. The functional blocks are anchored in the "empty space". As the creation of the air in the teapot - the "invisible" by molding the teapot - the "visible". Besides, Function blocks - the "visible" is the isolation layer needed to create a quiet and clear space for the "invisible" gap. Light, in this project, is the emotional catalyst and connect the "cavity" in the building.

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Amin's House / A1Architecture

Posted: 13 Aug 2017 07:00 PM PDT

Architects: A1Architecture
Location: Lavasan, Iran
Architect In Charge: Amir Afghan
Area: 540.0 m2
Project Year: 2014
Photographs: Arash Ashourinia

From the architect. Connecting the view of surrounding environment which includes far away mountains, lake, trees and all the elements in background to the form and elevation of the building was the significant challenge of this design.

So the city landscape at the back count as the buildings backyard and these two will work together and they are meaningless without each other.

Based on this idea we designed a flexible integrated shell which starts from the city landscape and will move along the floor to the walls and will end up on the ceiling while forming them.

The space made up of these exposed concrete shells include dynamic spaces for gatherings and meetings.

Also Private spaces are gathered into a stable white mass which are placed into outer concrete mass.

In the design we tried to minimize the usage of materials and maximize the function of each piece and denied to use formic objects without function and ornaments. In the middle of the southern yard there is a retaining wall which carries two different decks for the main building in different levels. Upper level is connected to the ground floor and the one below creates the backyard's green space.

There is different horizontal and vertical accesses between floors and continues accessible patterns were considered.

Product Description. To implement integrated shell, we are looking for a material to create a sense of fluidity and in order to minimize the variety of materials used to construction elements, including exterior walls, interior walls, cover the underside of the roof, staircase and fireplaces performed by it. Therefore we chosen exposed concrete that was poured in place with metal frame. In the implementation of deck we use ash wood floor covering to connect the stunning landscape view to the geometry of the building and somehow to penetrate the color and texture of the surrounding environment into the building.

Windows in this project as an integrated surface connect inside spaces with outside. To provide the maximum level of transparency and prevent energy loss, aluminum window profiles and double glass is used.

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DEEJ Factory / 5+design

Posted: 13 Aug 2017 05:00 PM PDT

Architects: 5+design
Location: Jinan, Shandong, China
Area: 131739.0 m2
Project Year: 2017

Client: Shandong Dong-e e-Jaio Ltd.

From the architect. DEEJ is the new campus in Shangdong, China, designed for Shandong Dong-e e-Jaio, a Chinese pharmaceutical company that creates a range of health-care products derived from traditional Chinese medicine dating back thousands of years.

The campus serves a dual function as a state-of-the-art production facility and as a showroom that invites consumers to see how the goods are made, learn about the history of the firm and about ejaio, its most important ingredient.

5+design began with a master plan to resolve the layout of the campus and later designed all subsequent uses that include five factories and the visitor center.

Embodying the company's products, DEEJ's architecture blends traditional and modern material to create a cohesive language throughout. Glass, concrete and a metal panel wall hexagonally linked, wraps around the visitor center, giving the building an appearance of weightlessness and replicates the company's hexagonal brand logo in form.

Three perforated patterns of the hexagonal wall overlaid on the solid building creates illusionary affects and plays with depth of field by appearing to flicker as visitors walk or drive alongside. At night, the wall is back-lit to continue the affect at sundown.

Once visitors drive past a stand of gingko trees onto the campus grounds, an immersive experience unfolds in a deliberate sequence of stops through buildings of glass, concrete, and stone laid out around a lake system. A large reflecting pool in the parking lot points the way to a low, cutout entrance that opens to a bright, spare plaza.

The tour begins at the visitor center, with its theater, amphitheater, and shop, and moves to five separate factory buildings via a series of glass bridges. Inside each factory, a curated pedestrian experience leads visitors through an expansive pedestrian corridor which features floor-to-ceiling glass windows sequentially placed to offer views of the production floor.

Landscaped trees frame roaming gardens while plants that include varieties used for the production of medical products create an escape outdoors. Modern monolithic pylons display each factory's name and signage while the interiors borrow heavily from the motifs of the company's brand packaging.

In its entirety, the project demonstrates how a sophisticated program codifies production with the public realm and deals with the reduction of scale-- from the vastness of the landscape, through the collection of the project's public spaces, and into the personal with the curated visitor's experience.

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7x7 House / IZ Architects

Posted: 13 Aug 2017 01:00 PM PDT

Architects: IZ Architects
Location: Sơn Trà, Vietnam
Architects In Charge: Le Vinh, Nguyen Cuong, Son Tran
Area: 49.0 m2
Project Year: 2017
Photographs: Quang Dam

Construction: IZ Achitecture & Construction

From the architect. 7x7 House was inspired and created from the idea of a tropical space as it is located in Danang, a central coastal city of Vietnam where the climate is quite severe in the way it varies significantly between the sunny season and the rainy one. This city is also influenced by a lot of tropical storms every year. Besides, the local people, as well as their lifestyle, is affected by their main religion, known as Buddhism. Thus, they lead an open and friendly life.

This house, of which the architect himself got the inspiration from humble zen space and from some small country houses in the central coastal countryside of Vietnam, is built for a single woman. It is requested that this house should be a space that can create a linking space filled with friendliness, closeness, and flexibility.

The problem of climate has been considered in the first place. As the site area is extremely small together with the three- hidden sides of the house, the plan is divided into two light wells which allow breeze and light to get to all the corners of the house.

Green trees cannot be omitted as they play an important role in highlighting the light well holes, which helps create a relaxing and comfortable feeling in such a small-spaced house. All the green trees in the house can help link the two floors so all the members of the family are able to see and talk to each other through this open and close space.

The architect has designed the first floor with a large sharing space where a living room, a cooking counter, a dining table are found, which restrict the lobby and extra space with the maximum amount.

In a word, both the architect and the owner of the house wish to build an effective, energy-saving and friendly house, which will take advantage of the natural features of the region. We call it "Architecture makes happiness".

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Dmytro Aranchii Architects Constructs Interactive Park on Top of Shopping Center

Posted: 13 Aug 2017 09:00 AM PDT

Dmytro Aranchii Architects have started construction on a large interactive green roof in Kyiv, Ukraine. Called the Signature Garden, the 6000 square meter park sits on top of a shopping center and provides a space for visitors to dine, play, and enjoy both vegetation and water features.

Located in downtown Kyiv, the Signature Garden ties together the commercial program of the space below and the two residential towers above, providing playgrounds, a restaurant, and ample space to enjoy the greenery. A shallow pool acts as an urban pond, letting people get their feet wet in the summer.

The plaza introduces a variety of vegetation to the dense urban area in lines called "Van Gogh strokes" for their dynamic shape, suggestive of movement. Additional strips of plants were added to the perimeter of the residential towers to help cool temperature in the warmer months. The landscaping includes plants such as cotoneasters, birch trees, and perennials that were chosen for the Ukrainian continental climate.

The park uses its water features as a way for guests to communicate with the architecture. Part of the park's "Interactive Zone", the fountain changes its state based on the relative position of people nearby. For example, the fountains have a feature called "God mode" in which the water makes way for a person walking, gradually rising as the distance increases. The water feature is situated next to another interactive element that projects color and light onto the pavement, increasing based on a number of people and their activity.

A designated performance space called "The Cave" will feature a viewing platform on top and a small amphitheater inside. Both permanent and temporary exhibitions will be housed there. Its position aims to shield the noise from the residences, but allow visitors to the nearby restaurant to hear. The plaza features limited parking to accommodate for these amenities.

The project began in 2016 and is set to be completed by 2018.

Architects: Dmytro Aranchii Architects
Location: Mechnykova St, Kyiv, Ukraine
Architecture Firm: Dmytro Aranchii Architects
Design Team: Dmytro Aranchii, Ihor Kishta, Aliona Bondar, Yelyzaveta Tymoshchuk, Alisa Sidko
Intern: Anhelina Hladushevska
Area: 6000.0 m2
Project Year: 2016

News Via: Dmytro Aranchii Architects.

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Margot Krasojević Designs Bridge That Sails Like a Ship

Posted: 13 Aug 2017 07:00 AM PDT

Dr. Margot Krasojević, known for creating impossibly futuristic architecture has unveiled her latest project: a bridge that can sail across the water. Dubbed the "Revolving Sail Bridge" - the experimental project was commissioned by the Ordos government in the Kanbashi District of Inner Mongolia (China) to be built across the Wulamulum River. Featuring a main floating section topped with a carbon-fibre triple sail, the flexible structure is capable of sailing anywhere across the river to relocate itself.

In order to move, the bridge is designed to fold into sections that stack into each other. Movement is controlled by the sails, made from an aluminum frame and clad in a reinforced carbon-fibre polymer. In order to revolve the sails, the bridge uses a series of hydraulically-operated tanks that empty and fill with water, rotating the sail from horizontal to vertical while keeping afloat.

A number of different mechanisms ensure the stability of the Sail Bridge. The bridges' structure is made from a primary ring frame that has eight marine floatation air bags to stabilize the sails while they rotate, and is weight-distributed evenly to prevent capsizing. Like a ship, the bridge can be moored along the quayside, and permanently positioned using floating Caisson foundations that sink into position. Screw-in moorings paired with nine-ton anchors ensure the bridge won't float away and keep the structure stable while it is "docked."

With three expanding hydraulic walkways, the bridge can stretch out to span distances across the river, folding and unfolding accordingly. In order to keep the main body afloat, the sail and its rotator work together while the hydraulic walkway latches onto the river banks' landing docks for stability. A hydraulic secondary structure supports the pedestrian walkway, which can also expand and contract into the main body of the primary structure (depending on where the sailboat bridge is berthed or sailing to).

Renewable energy and how to optimise the collaboration between program, typology, and architecture have always been at the forefront of the studio's research and design approach - statement from Margot Krasojević.

Experimenting with sustainable solutions is at the heart of Krasojević's projects. The hydraulic chamber that controls the bridge's nomadic movements is powered by photovoltaic cells, while solar panels line the walkway providing energy for three electric motor generators. When the bridge is in use, the sail is lowered and acts as a canopy over a seated area for people to enjoy the views and the platform gardens.

Architects: Margot Krasojević
Location: 3 Wulan Mulun Street, Ordos, 000000, China
Architect In Charge: Margot Krasojević
Client: Ordos government, Inner Mongolia, China
Project Year: 2017

News via: Margot Krasojević.

Margot Krasojevic on Experimental Architecture and the Challenges of Being Branded a "Parametric Futurist Crap Architect"
Experimental architect and psychologist Margot Krasojevic has been designing literally in-credible structures for her entire career. Starting with more conceptual designs, her parametric and outlandish forms are becoming increasingly buildable, and several, including her Jetway Hotel, are under construction.

Piarena Designs Sail-Inspired Congress Hall Spanning Over Russian River
PIARENA has won the Archchel-2020 competition to create a Congress Hall for BRICS and SCO events in central Chelyabinsk, Russia along the Miass River. Separated into two parts by the river, the site will additionally host business meetings, public events, and exhibitions.

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Parque Toreo / Sordo Madaleno Arquitectos

Posted: 13 Aug 2017 06:00 AM PDT

Architects: Sordo Madaleno Arquitectos
Location: State of Mexico, Mexico
Area: 440580.0 m2
Project Year: 2014
Photographs: Rafael Gamo

Architecture Project : Sordo Madaleno Arquitectos
President: Javier Sordo Madaleno Bringas
Director Of Architecture: Javier Sordo Madaleno de Haro
Architect Project Manager: Jorge Isaías
Architect Design Manager: José Luis Santillán
Architects Design Team: Abraham Tejeda, Javier Montalvo, Jesus Montaño, Marco Antonio Manriquez, Santiago Noriega, Daniel Hernández Isaías, Armando Canales, Oscar Milla
Engineering Coordination: Ing. Marcos Hernández, Ing. Juan Carlos Díaz, Ing. Héctor Ruiz
Coordinating Architect In Construction And Structure: Armando Zárraga
Architects Media And Marketing: Rosalba Rojas, Daniela Cruz, Jimena Orvañanos
Graphic Identity: Paralelo 19
Signaling: Recisa
Structural Engineering: Grupo RIOBOO Jorod
Electric Engineering: Etra
Engineering A/C: IACSA
Systems Engineering And Special Installations: Innovative Design
Hydraulic Engineering: Garza Maldonado
Lighting Consultant: Luz y Forma
Landscape Consultant: Paisaje + Flores
Building: Grupo Danhos

From the architect. There is a clear trend in leading cities worldwide towards urban transformation that is above all the result of social and demographic evolution, reconciling densities and land uses to trigger development.

Parque Toreo was designed as a mixed-use complex and as a prime example of this phenomenon of urbanization. The site is located in Naucalpan, State of Mexico, the most developed suburban area with significant commerce to the north of Mexico City. It measures 51,753.60 sqm and includes access to main roads such as: Periférico Norte, Av. Río San Joaquín and Av. Parque de Chapultepec.

From the start, the master plan was conceived as "a great park," an urban space that comprehensively unites different uses. This project contains a shopping mall, a hotel and three corporate buildings, covering a total of 440,580 sqm of built area.

The shopping mall successfully concluded in October 2014, the second stage began to operate in 2016.

In the shopping mall the user is at the center circulating among fountains, trees and open spaces, with the aim of enjoying a public space and providing a site for social encounter and interaction for the zone and the city as a whole. The rich vegetation with big trees over the shopping mall generates a balanced atmosphere with the retail spaces.

The shopping mall occupies the first four floors, with stores, cinemas and restaurants that fill these semi-enclosed spaces with life and cover approximately 91,500 sqm. The construction of an anchor store is soon to be finalized adding 25,000 sqm to the commercial area.

The "B" and "C" office towers hold an approximate built area of 60,000 sqm. The executive hotel includes 220 rooms covering an area of 15,000 sqm over 15 floors with the "A" office tower with a total area of 60,000 sqm.

The project includes six floors of underground parking to meet the parking needs. The "transfer" area located between the floors occupied by the shopping mall and the ground floor of the offices serves as a distributor and filter for the good operation of the different uses. This area houses a business club with attractive spaces that generate new experiences such as exhibitions, cultural events, training halls, an auditorium, etc.

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The Best Photos of the Week: Architecture in the Most Incredible Places in the World

Posted: 13 Aug 2017 05:00 AM PDT

Architecture is always a reflection on how to interact with and relate to nature. Some architects show a preference for distinctive shapes and materials that contrast with the landscape, while others prefer to mimic the surroundings with organic works. But regardless of the techniques employed, architecture has reached the most remote and incredible places on the planet. Below is a selection of 16 images which show the combination of architecture and landscape by prominent photographers such as Su Shengliang, Sergio Pirrone and Valentin Jeck.

Valentin Jeck

Holiday House on the Rigi / AFGH

Piyatat Hemmatat

Archipelago Cinema / Buro Ole Scheeren + Film on the Rocks Yao Noi Foundation

James Puttick

House in the Mountains / Wolff Architects

Jeff Goldberg/Esto

Natural History Museum of Utah / Ennead Architects

Dylan Perrenoud

Antoine / BUREAU A

Su Shengliang

Qiandao Lake Cable Car Station / Archi-Union Architects

Fernando Guerra | FG+SG

Jungle House / Studio MK27 - Marcio Kogan + Samanta Cafardo

PLaT Architects

Xiangshawan Desert Lotus Hotel / PLaT Architects

Felipe Díaz Contardo

2Y House / Sebastián Irarrázaval

Sergio Pirrone

Rambla House / LAND Arquitectos

Zhou Yue Dong

China Fuzhou Jin Niu Shan Trans-Urban Connector / LOOK Architects

Su Shengliang

Qiandao Lake Cable Car Station / Archi-Union Architects

Nelson Garrido

East-West/West-East / Richard Serra

Sergio Pirrone

Grove Houses / WMR arquitectos

Paul Warchol

Ex of In House / Steven Holl Architects

Inexhibit

Messner Mountain Museum Corones / Zaha Hadid

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This New App Wants to Answer All Your Building Code Questions

Posted: 13 Aug 2017 02:30 AM PDT

Perhaps nothing can kill a project budget or give an owner heartburn quite like costly code fixes during (or in the worst case, after) construction. As architects, we do our best to navigate construction codes during design, but there's no denying their complexity. Projects have to comply with multiple different codes at both the federal and local levels; different codes sometimes even contradict one another, leading to headaches for the design team.

However, a new website and mobile app hopes to make understanding and complying with building codes easier for architects and designers. "The solution we provide is a search engine tailored for architecture," explains Scott Reynolds, co-founder of UpCodes. With his background in architecture, Reynolds has partnered with his brother Garrett Reynolds—who has a PhD in machine learning—and through UpCodes, the pair to ease some of that building code-driven frustration.

What UpCodes does is allow architects to select their jurisdiction and applicable codes before using the search engine, which then integrates data from all of the code publications, including amendments, to deliver the requested information. This can be a helpful tool for firms looking to work in unfamiliar jurisdictions, as well as for younger professionals working to become familiar with using building codes.

A large part of our mission has also been to empower younger architects, ones who may not have 15 years' experience and familiarity with working on certain typologies. This gives the tools to those architects to have a much quicker understanding of the requirements as well as reducing some of the pressure on the more senior staff!
– Scott Reynolds

Another feature of UpCodes is the ability to collaborate with project team members through a feature called Project Pages. Within Project Pages, teams can bookmark and comment on relevant code sections and share them with consultants and other team members. Project Pages can also be utilized as a way to gather and save institutional knowledge, especially for firms that work often within a certain typology. "Firms will often do projects that repeat themselves and have similar requirements, but in my experience, a lot of that code research gets done twice," said Scott Reynolds in an interview with TechCrunch. "We try to remove as much of that as possible and bring it to future projects as well." UpCodes automatically updates all regulations as they are revised over time with monitoring tools built into the app that constantly check the websites where the codes are pulled from to keep the information up to date.

The first step, according to Reynolds, has been compiling and organizing all of the code data in an intuitive and useful way. "What we will be working on next is moving away from the architect 'pulling' information and towards an intelligent prediction tool that starts to 'push' information," Reynolds said in a conversation with ArchDaily. These future developments will utilize co-founder Garrett Reynolds' background in artificial intelligence and machine learning so that in the future, the architect will be able to input information about a project such as a project's location, occupancy type, occupant load, and size, and the tool will then generate relevant code requirements for the architect to consider. Reynolds hopes that eventually, the system could even analyze a Revit or CAD plan automatically and give live feedback about possible code violations.

UpCodes is already gaining popularity within the field of architecture, with over 112,000 searches processed so far in 2017 and the number of users growing by 11% each week. More than 45,000 people per month visit UpCodes, spending a total of 220 hours on the site every day. The tool currently includes building codes for around 40 U.S. states, as well as New York City, and the Reynolds brothers plan to add Seattle, Los Angles, and Denver in the near future in response to demand. Visit UpCodes' website to learn more.

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Skjervet Tourism Service Center/ Fortunen AS

Posted: 13 Aug 2017 02:00 AM PDT

Architects: Fortunen AS
Location: Granvin Municipality, Norway
Lead Architects: Nils Johan Mannsåker
Area: 30.0 m2
Project Year: 2016
Photographs: Steinar Skaar, Pål Hoff, Vidar Herre

Landscape: Østengen & Bergo Landscape Architects

From the architect. On the site of Skjervsfossen (Skjervet waterfall), Fortunen have designed a small building consisting of two restrooms and a small technical room, while the landscape design is made by Østengen & Bergo. The client, Nasjonale turistveger, challenged Fortunen and Østengen & Bergo to accentuate and enhance the experience of the natural landscape, whilst not competing with it. The overall aspiration was to create a unique and surprising experience. The main concept has been to make the wild nature accessible without hurting it.

The building itself is located within a larger open landscape and takes advantage of wide views towards the steep mountain walls, and the moving valley. Creating strong references to the site and its surroundings was an important feature of the project. The building appears as a small piece of the mountain, carved out of the rock and relocated to the other side of the riverbank. The shape makes it a non-house, being a sculpture of the solid rock.

Towards the river, the facade is made from stainless steel, subtly reflecting the river and the wood beyond. The other sides are prominently seen when arriving at the site, and appear to be formed of solid rock, local to the area. The building attempts to mirror the massive and closed forms of the surrounding mountains. Fortunen had a desire to create an interior distinct from its external setting. Contrasting the outside solid rock, the internal walls are covered with deep, warm coloured plywood, with two tall windows that frames the moving water, forest and the mountains that rises towards the sky.

Local, natural stone is the main material in the restroom building, service area and nature trails. The colour scheme is carefully adapted to the environment, with robust designed fences in rebar (reinforcement iron) and benches in concrete. Tufts of removed grass was stored during construction and put back in place afterwards. Both in design and execution phase, the rough landscape and rich vegetation by the waterfall has been treated as fragile. The architect and landscape architect's intention has been to make gentle interventions that looks like they always been in this terrain – despite their modern form. Where Norwegian landscape contractors made the straight lines and precise walls of natural stone, Nepalese Sherpa's shaped the natural stairs of stone in the terrain. The combination of contemporary form, ancient craft and local materials create a timeless dimension to the project.

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Housing at St. Sebastian Church / Bolles + Wilson

Posted: 12 Aug 2017 10:00 PM PDT

Architects: Bolles + Wilson
Location: Münster, Germany
Architect In Charge: Julia B. Bolles-Wilson, Peter Wilson
Area: 7154.0 m2
Project Year: 2016
Photographs: Roman Mensing, Peter Wilson

Structural Engineers / Building Physics : ahw Ingenieure GmbH, Münster
Service Engineers: Ingenieurbüro Nordhorn GmbH & Co. KG
Fire Protection: W+W Sachverständige und Ingenieure für Brandschutz GmbH & Co. KG
Client: Wohn+Stadtbau GmbH

From the architect. In 2009 BOLLES+WILSON won the 1st prize for housing and a kindergarten on the site of the 1960s St Sebastian Church. It was expected that the emblematic oval form of the church be demolished. Instead the kindergarten colonized the nave. It was opened in 2013 – a much published reuse with interior green weather protected play decks.

Now phase 2 is complete, a peripheral frame of housing protecting the kindergarten from a noisy street and giving a precise edge to the adjacent park.

Market realities are clearly visible in the differentiation of the social (subsidized) housing with its bright white and pink plaster facade to Hammer Str. and the owner-occupied flats with their noble dark brick facade facing the mature trees in the park.

One corner tree is explicitly embraced by the projecting white sheet of the street facade.

Only kitchen and bathroom windows are allowed to receive traffic noise; living rooms and balkonies turn inwards to the quiet green space surrounding the kindergarten.

Unexpected colour animates the lift and stair tower and the setback roof apartments. This polychrome trope also animates the skyline of the park elevation. Here big white frames give a grand order, a vertical hierarchy. But ultimately it is the grandeur of the existing trees that claim the status of leading actors in the spatial choreography.

Product Description. The bricks reflect the predominant façade material of the surrounding city while at the same time introduce a new colour and orientation (vertical). While the subsidized housing part is covered with white and coloured plaster it is the dark brick façade of the owner-occupied part that really gives the mature trees of the adjacent park a noble background.

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ponedjeljak, 14. kolovoza 2017.

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