Arch Daily

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• Copeland Grove House / Stephen Kavanagh Architects
• Pezo von Ellrichshausen and Felice Varini Unveil Designs for a Civic Installation in the UK's 2017 City of Culture
• Metal Rainbow-Zhongshu Bookstore in Suzhou / Wutopia Lab
• The Terraces House / Accent Design Group
• Club Med Shanghai Office / 100architects
• TH House / DANstudio
• Hall of Literature & Garden at Taizhou High School / Architectural Design & Research Institute of SCUT
• HARMAY / AIM Architecture
• How Terrol Dew Johnson and Aranda\Lasch Are Reinventing Basket-Weaving Traditions to Sustain Native Culture and Community
• Chino Canyon Residence / Hundred Mile House
• This Map Shows The Evolution of Frank Lloyd Wright's Oak Park Designs
• Color Camp Manicure Bar / J. Byron-H
• Studio Gang and nAOM Selected as Finalists to Redesign Paris’ Tour Montparnasse
• Townhouses Hipódromo / envase
• Rafael Viñoly-Designed Ritz-Carlton Tower to Rise in New York City
• Pennsylvania Farmhouse / Cutler Anderson Architects
• How One Concrete Manufacturer Helps Architects Reduce Project Costs With An In-House Design Team
• Pacaembu House / DMDV arquitetos
• World Photo Day 2017: Our Readers’ 100 Most-Bookmarked Architectural Photographs
• Upcoming 685-Foot Tiered Residential Tower To Extend Austin's Skyline

Copeland Grove House / Stephen Kavanagh Architects Posted: 17 Aug 2017 10:00 PM PDT © Alice Clancy Architects: Stephen Kavanagh Architects Location: Dublin, Ireland Lead Architect: Stephen Kavanagh Area: 24.0 m2 Project Year: 2015 Photographs: Alice Clancy Structural Engineer: CORA Contractor: John Punch Construction © Alice Clancy From the architect. In commissioning the extension and refurbishment of Stephen's childhood home, a 3-bed terraced house in North Dublin, Dolores and Steve desired something light and spacious that would help them engage with their sizeable garden, previously hidden from view. Ground Floor Plan A large amount of glazing was employed to provide a transformative panoramic view, while also increasing the solar heat gain into the house. The old kitchen extension had been the greatest source of heat loss in the house, so it was poetic that its replacement should become a net contributor to thermal comfort. © Alice Clancy With the extension primarily facing north, a roof light runs the length of the extension to allow sunlight to enter the space throughout the day. To counteract the clean, crisp lines of the glass, the remaining solid elements of the extension were made as warm and tactile as possible. Cross Section The timber frame was exposed internally, and timber was used for the interior finish of the window frames. The floor and walls were tiled for the most part, while even the dining table and pendants were made or raw timber and concrete. © Alice Clancy For the exterior, the question was what material could be used that would both contrast with and compliment the plain white suburban terrace. Charred timber cladding was chosen as the material that would embody the timber construction and provide a durable, monochromatic palette. Side Elevation Due to budgetary constraints, the cladding was charred on site by the main contractor, which gave it the desired roughness and tactility, while also revealing a natural sheen in the wood. © Alice Clancy Lighting design was key to the success of the interior space, creating a calm and relaxing atmosphere for evening entertaining. Concealed LED strips illuminate the exposed timber joists, with LEDs on the kitchen units providing task lighting over the work surface. © Alice Clancy Add to this the pendants over the dining tables, and space is typically illuminated without the need for any downlights or visible lamps. In combination, these details work together to create a cozy timber box that has transformed the lives of Dolores and Steve, providing a social heart to their home. This posting includes an audio/video/photo media file: Download Now

Pezo von Ellrichshausen and Felice Varini Unveil Designs for a Civic Installation in the UK's 2017 City of Culture Posted: 17 Aug 2017 09:00 PM PDT Pezo von Ellrichshausen, Hull pavilion, Hull, UK, 2017. (Aerial perspective, watercolour on paper, 22 x 22 cm, 2017). Image Courtesy of RIBA The Royal Institute of British Architects (RIBA) and Hull UK City of Culture 2017 have jointly commissioned Chile-based architects Pezo von Ellrichshausen and Swiss artist Felice Varini to design an ambitious temporary outdoor structure in the historic heart of Hull, a port city on the country's east coast. The project, which is part of the Hull 2017 "Look Up" programme of public art installations, will "transform Trinity Square with sixteen galvanized steel columns arranged in a grid formation in front of Hull Minister to highlight the symmetry of its façade." Pezo von Ellrichshausen, Hull pavilion, Hull, UK, 2017 (General axonometry, oil on canvas, 30 x 30 cm, 2017). Image Courtesy of RIBA According to the RIBA, "visitors to the installation will be able to inhabit each of the six-metre-high columns and experience varying light conditions created by perforations in the steel skin." In addition, "the rigid geometry of the columns will be carefully distorted and redefined by the artwork of Varini, challenging perceptions of perspective and scale." For Marie Bak Mortensen, RIBA Head of Exhibitions, "visual and physical contradictions merge as visitors to Trinity Square will be met by imposing, static steel columns that are open to the sky and whose perforations create as feeling of lightness." Pezo von Ellrichshausen, Hull pavilion, Hull, UK, 2017 (Detail perspective, oil on canvas, 60 x 60 cm, 2017). Image Courtesy of RIBA Pezo von Ellrichshausen, Hull pavilion, Hull, UK, 2017 (1:25 scale model, printed paper, 100 x 100 x 24 cm, 2017). Image Courtesy of RIBA This posting includes an audio/video/photo media file: Download Now

Metal Rainbow-Zhongshu Bookstore in Suzhou / Wutopia Lab Posted: 17 Aug 2017 08:00 PM PDT © HU Yijie Architects: Wutopia Lab Location: Suzhou, Jiangsu Province, China Chief Architect: Yu Ting Project Architect: Shuojiong Zhang Area: 1380.0 m2 Project Year: 2017 Photographs: HU Yijie, CreatAR (AI Qing, MAO Yingchen, SHI Kaichen) Design Consultant: ArchUnits Lighting Design: Gradient Lighting © CreatAR (AI Qing, MAO Yingchen, SHI Kaichen) From the architect. The new bookstore is divided into four main zones and several subdivided zones. Aiming to create a colorful new world by using symbolism, the architect gave a unique character to each zone: The Sanctuary of Crystal for new arrivals; The Cave of Fireflies for recommendations; The Xanadu of Rainbows for reading room; The Castle of Innocence for children books. Axonometric The Sanctuary of Crystal As an entrance, 'The Sanctuary of Crystal' is a space full of books and nothing else. The latest arrivals were arranged on the pre-fabricated transparent acrylic shelves, outstanding the presence of the books. Using glass bricks, mirrors and acrylic, 'The Sanctuary of Crystal' is a shining white space, luring customers into the heart of the store. The Cave of Fireflies After the whiteness, 'The Cave of Fireflies' is a darker tunnel connecting the main hall and the entrance. Customers will pick books here and follow the guide of optic fibers into the main reading area.  © HU Yijie The Xanadu of Rainbows After a relatively narrow space, 'The Xanadu of Rainbows' is a large and open space. Thanks to the large windows, natural lights can pour inside. Being the most prominent space, 'The Xanadu of Rainbows' provides a variety of experience. Taking advantages of different heights of shelves, steps, and tables, the architect creates a hyper architecturized and abstracted landscape of cliffs, valleys, islands, rapids, and oases. There are also thin perforated aluminum sheets in gradient colors simulated as rainbows installed in the bookstore. These 1cm thin panels divides zones of different functions at the same time bringing a mysterious and vague atmosphere to the space. These moves shape a Xanadu from ancient Chinese philosophy. © HU Yijie © HU Yijie © CreatAR (AI Qing, MAO Yingchen, SHI Kaichen) The Castle of Innocence At the very end of 'the Xanadu of Rainbows', the space surrounded by white ETFE walls is the children books area. With the help of translucent ETFE, the Castle of Innocence is an inner world inside the bookstore. Many complex installments were added in the space, building a world where children can interact with each other and with the bookstore itself. © HU Yijie The perforated aluminum sheets shaped of windows play a huge part in the project. When half of the sheets were perforated, they lost the visual quality of shining metals. When multiple panels of different sizes and colors were fixed together, a sense of veil is created. This ambiguous and vague effects gave qualities to the bookstore. The distance between each set of panels is also of great importance. Some gaps between the panels are larger than others, thus creating spaces of different experiences. Again, with the almost translucent quality of the panels, the boundaries between each individual space is weakened. With the use of lights, the colorful sheets can also be seen from outside, making the bookstore an inviting destination.  © HU Yijie This posting includes an audio/video/photo media file: Download Now

The Terraces House / Accent Design Group Posted: 17 Aug 2017 07:00 PM PDT © Jad Ghorayeb Architects: Accent Design Group Location: Brih, Lebanon Architect In Charge: Elie Abs Area: 1350.0 m2 Project Year: 2017 Photographs: Jad Ghorayeb Project Consultant : Elie G. Haddad Project Team : Aline Fadous, Jad Fenergi, Luana Mahfouz, Nada Noueihed, Petia Ratzov Interior Design : ADG Interiors Mep Consultant : Wissam Tawil & Associates Structural Consultant : Joseph Diab Client : Bou Ezzedine © Jad Ghorayeb From the architect. The design for a single-family villa in the Chouf mountains in Lebanon, took its inspiration from the landscape and the territory. The villa is located in the small village of Brih, which witnessed destruction and desolation during the Lebanese war.  Mass Plan The concept evolved as a composition in two volumes, separate yet connected through the main entrance/lobby: on the frontal side, the public functions, and in the back the family areas contained in a two-storey structure. The resulting U-shape configuration encloses an outdoor space with a pool, almost like a private piazza, open to the landscape.  © Jad Ghorayeb The approach to the villa is through a meandering road at the bottom of the hill, passing though the terraced olive groves, which follow the natural topography. The building accentuates this horizontal composition, as a terminal point, combining natural stone with a contrasting white stucco in its finishing.  © Jad Ghorayeb Ground Floor Plan © Jad Ghorayeb The villa embeds itself discretely within the site through this sensitive arrangement of elements, deriving its minimalistic aesthetic from the typology of traditional forms, rendered in modern forms. It reinterprets the traditional typology by opening up to the landscape, while recreating a sequence of passages and patios reminiscent of traditional architecture. The house avoids contemporary fascination with 'glamorous' forms, or the reactionary imposition of 'monumental' mansions, focusing instead on the integration in the landscape, the context, and its history.  © Jad Ghorayeb This posting includes an audio/video/photo media file: Download Now

Club Med Shanghai Office / 100architects Posted: 17 Aug 2017 05:00 PM PDT © Amey Kandalgaonkar Photography Architects: 100architects Location: Bund Finance Center, 600 Zhongshan No.2 Road East, Huangpu District, Shanghai, China Lead Architects: Javier Gonzalez Rivero, Marcial Jesus Client: Club Med Product Designer: Diego Fuertes Area: 1550.0 m2 Project Year: 2017 Photographs: Amey Kandalgaonkar Photography © Amey Kandalgaonkar Photography From the architect. 100architects was commissioned by Club Med to design their new office space in Shanghai. This project was in collaboration with the product designer Diego Fuertes. © Amey Kandalgaonkar Photography The French company was moving its Asia-Pacific Headquarter to the recently finished Bund Financial Center, at The Bund, designed by Foster + Partners & Heatherwick Studio. © Amey Kandalgaonkar Photography Club Med is specialized in the market of all-inclusive holidays, with many vacation villages and resorts in the most exotic and breathtaking destinations around the World. Floor Plan From the very first meetings with them, they state very clearly that Club Med is an unconventional company, and their new office should reflect extravagancy, presenting themselves as a young & fresh company. Therefore, when brainstorming about the concept idea, the first thought in which we all agreed was to design an office that inspires vacations, holidays, and reflects the happiness that one feels when arriving to a new sunny destination at the sea. © Amey Kandalgaonkar Photography Although the scope of work included the design of the entire office, Club Med specifically requested to have special accent in 2 main areas: the signature Lobby, which would be the space in charge of offering a very good first impression to clients and visitors alike; and the Pantry, which should be understood as a social space for employees, rather than just a pantry to have coffee or breakfast. Informal gatherings and team building activities were intended to take place in the social Pantry. © Amey Kandalgaonkar Photography Based on a Mediterranean feelings of holidays, which is swimming, the Lobby was conceptualized to mimic a swimming pool, in which visitors would be submerged under water. © Amey Kandalgaonkar Photography To create this illusion, a deep blue elevated pipe was designed to be hanging overheads, looping around the lobby defining different mini-areas within the lobby area. The shape of the pipe is at the same time projected onto the floor, in order to enhance the virtual subdivision of the space, having 2 different materials on both sides of the projected pipe: blue PVC carpet as the pool water, and PVC Wood flooring as the deck around the pool. © Amey Kandalgaonkar Photography The result is a multi-functional (but virtually subdivided) space in which each loop offers a mini-function, such as a reception desk, meeting room, waiting area, informal meeting spaces, hanging phone booths, etc… © Amey Kandalgaonkar Photography The Pantry was designed to be as functional as possible having into account the diversity of activities that it would host. As main features, a long yellow kitchen was designed to solve all the practical needs of cooking, storing, coffee making, etc, in the same space, while a wooden mini-amphitheater was located at the end of the space in order to provide enough seating areas for hosting communal activities or public speeches. Courtesy of 100architects The working areas where solved with an open office typology, in order to foster relationships among employees and directors. Functionally efficient, working spaces count not only with long communal working tables, but also with private offices with glass partitions, enhancing transparency and bringing natural light to all corners. Hanging greenery has been also included as a good mood generator. © Amey Kandalgaonkar Photography Special mention for the 2 pieces of signature furniture designed for the open office in order to provide platforms for interactions among employees. Their morphology defines other mini-functions such as team briefings, small workshops, informal meetings, etc… © Amey Kandalgaonkar Photography This posting includes an audio/video/photo media file: Download Now

TH House / DANstudio Posted: 17 Aug 2017 03:00 PM PDT © Quang Dam Architects: DANstudio Location: Hanoi, Vietnam Lead Architects: Duc Nguyen, Phung Minh Nguyet Area: 77.0 m2 Project Year: 2017 Photographs: Quang Dam Engineer: Thang Nguyen © Quang Dam From the architect. The TH House is located at a new urban area in the outskirt of Hanoi. The house is a very popular type of house in Vietnam that the main structure was already built by the developer of the whole area. The people buying this kind of house usually need to do the "finishing" work before moving in. But the skeleton of the house itself causes a lot of problems, mostly related to natural ventilation and lighting. So the question for the architect is how to finish the construction to simultaniously solve all the problems coming from this skeleton and have a humble difference while still keeping the same structural elements to the surrounding houses. © Quang Dam The solution comes first from the interior space. The architect proposed to cut over some floor slabs, creating more vertical connections from the first floor to the roof level. This way inserts two others internal tubes bringing natural ventilation and lighting deep inside the house. The residents have more freedom to interact physically to each other through these open spaces. © Quang Dam Diagram © Quang Dam To strengthen the connection between the floors, the material of flower tile is used continuously from the wall of one tube to the floor next to another tube, exiting at the facade of the house. This solution of using material blurs the space vertically and horizontally, connecting all floors in a direct and physical way. © Quang Dam Diagram © Quang Dam The house location is not far from a noisy rail track and the front elevation faces harsh sunlight at the noon time. Thus a system of aluminum screen with "balconies" is used for the facade. It creates a new protecting skin wrapping the entire outer surface, while still has some openings to bring nature to the house. The "green balconies" use the trees mostly taking from the green area in front of the house. © Quang Dam Diagram © Quang Dam At the space on the second floor between the two new tubes, a reading room is inserted with high level of flexibility. By using a group of cubes at different ways, the residents can read books, work, sleep, play as a group or watch movies together on different gestures... The platform and the shelf not only can store things but also create a frame for people to do unlimited activities on their own way. This posting includes an audio/video/photo media file: Download Now

Hall of Literature & Garden at Taizhou High School / Architectural Design & Research Institute of SCUT Posted: 17 Aug 2017 01:00 PM PDT © Li Yao Architects: Architectural Design & Research Institute of SCUT Location: 669 Hai Jun Dong Lu, Taizhou Shi, Jiangsu Sheng, China Project Principals: Jingtang He, Weihong Guo Design Team: Yudan Pan, Linxi Liu, Menghao Luo, Zhisheng Guo, Jingshao Liang, Yan Zheng, Zhong Yan, Siyun Chen, Jun Ma, Siyun Chen, Caixia Feng Project Year: 2016 Photographs: Li Yao Client: Jiansh Taizhou High School Developer: Bureau of Housing and Urban-Rural Development of Taizhou, Jiansu Jianye Construction Group Co. Ltd. Builder: Jiangsu Hanjian Group Structure: Xiaojie Lao, Xiaofeng Chen Mep: Qihai Wang, Pujie Huang, Wangyang Geng, Weibin Chen and etc. © Li Yao A Poetic Space Hall of Literature exhibits the research achievements of the renowned contemporary Chinese educator Hong Zongli in mother-tongue education and the Chinese textbooks compiled, serving as a base for exhibition, exchange and research activities related to Chinese education in high school. Garden of Chinese Classics provides space for displaying ancient Chinese cultural and academic achievements. Therefore, an integrated design of Hall of Literature and Hall of Chinese Classics is conducted with reference to the characteristics of traditional Chinese gardens. Four major elements, namely pavilion, terrace, building and cloisters are used to form the integrated layout of a museum and a building. Garden Axonometric © Li Yao Garden Axonometric Hall of Literature appears like a floating wooden box, with the building facade clad with wood-like hollowed aluminum panels. When the night falls and the lights are on, the whole building resembles a floating lantern emanating tranquility and haziness. Words of a paragraph on mother-tongue education written by Mr. Hong Zongli are destructed and then reconstructed into hollowed patterned symbols which hollowed out in the building facades. Sunshine flood in via the hollowed words casting shadow inside the room, as if writing poems and articles on the walls. Hollowed metal panels and louvers are used to form indoor space full of plays between the light and the shadow in the entire Hall of Literature. With modern architectural techniques, traditional culture is interpreted to create building of distinct features of traditional culture. © Li Yao Section © Li Yao For the Garden of Chinese Classics, the layout of traditional gardens is referenced and modern building form employed to create garden through modern approached. The building materials used are bare concrete and gray-green bricks, and aluminum coping at some parts. The entrance of the building features the cornice formed by a concrete beam. One side of the corridor is a solid gray brick wall, and the other metal suspended brick wall. The gray bricks connected with booms seem to be floating in the air when viewed from afar. With modern structuring technique, the bricks, the traditional physical material, are used in a light and smart manner. The pavilions in the garden are made of bare concrete and aluminum panels, taking on the simplified form of a traditional pavilion after simplifying the complicated decoration. © Li Yao © Li Yao The main entrance of Hall of Literature features a crushed stone courtyard planted with yacca, serving as a transitional space. The Hall of Literature is separated from the Garden of Chinese Classics by an open bare concrete corridor, hence being interconnected with while independent from each other. Corridors, meandering paths and stone roads connect the halls and the pavilions. Visitors enjoy different views and rich scenes within a limited space as they walk. Their experience varies vastly in different seasons. Through the combination of traditional and modern architectural and gardening techniques, the design of Hall of Literature and Garden of Chinese Classics display the traditional culture and express the oriental sentiments, creating a poetic place that is hazy and tranquil. © Li Yao This posting includes an audio/video/photo media file: Download Now

HARMAY / AIM Architecture Posted: 17 Aug 2017 12:00 PM PDT © Jerry Yin Architects: AIM Architecture Location: 308 Anfu Road, Shanghai, China Lead Architects: Wendy Saunders, Vincent de Graaf, Fuzi He, Lea Li, Carter Chen, Maggie Li Area: 200.0 m2 Project Year: 2017 Photographs: Jerry Yin © Jerry Yin From the architect. Harmay's first brick and mortar store offers shoppers a thought-provoking antidote to its customary virtual visits. With over 1 million users online, the brand now aims to cultivate experiences online and off. AIM designed the shop, located on Anfu Lu, to innovate what e-commerce looks like. It was an opportunity to design for people and platform, creating a beautiful, visceral space to experience how what is done behind a screen can still be deeply felt. © Jerry Yin Our online culture and constant clicking means the purpose of physical shopping is up for debate. Digital market places and online brands have disrupted the way consumers experience traditional retail.  Transactions in China's online shopping market totaled some 4.7 trillion yuan in 2016 – that is a lot of shopping! So with more and more consumers moving online to do their purchasing, why would a successful e-store set up shop in the real world? What would inspire someone to leave the comfort of their sofa to buy something readily available online? 1F plan When Harmay, a successful online cosmetic brand, approached us to design their very first offline store, we asked ourselves these questions. It was an intriguing idea, and the kind of unexpected thinking we embody at AIM. How could a physical space support the e-platform, and vice versa? Harmay's entire brand essence is online shopping, and they do it very well, representing over hundreds brands of niche beauty products and cosmetics – a perfect retail product for online, but with a shop front, both retailer and consumer have a real opportunity to engage. © Jerry Yin We decided not to reinvent the wheel, but instead provide a look at the cogs in the machine. The physical store is dressed up like a warehouse, but located in a prime spot in the Former French Concession – perhaps a bold choice among all the cute boutiques, but Harmay was ready to do things differently. Like stepping through the online looking glass, the design mirrors the core of the business, and brings shoppers directly behind the scenes. © Jerry Yin A transparent polycarbonate panel was used for the façade. Layered over the old façade, it gives the shop visual distinction from a line of other boutiques on the street, but also provides a visceral experience to the familiarity of shopping online. There's a clean, precise warehouse feel within, even laboratory-esque. © Jerry Yin Our idea was this space operates as the heart – the 'kitchen' of the brand, you could say. Harmay still very much exists online – but this is the place where everything happens, the center of the action. While you select a new face wash, compare perfume bottles, or try on a lip color, others are doing the same – online orders stream in, products chosen and carefully packaged by real people, and sent out into the world. Shoppers in real life become part and parcel to the online process, too. 2F plan A spiraled metal staircase takes shoppers to a small space on the second floor. Up here, the vibe is more lounge and leisure than buy and sell. © Jerry Yin A blush palette mixes with a handmade vintage carpet, eclectic furniture, and electric blue stools. As a space for events and new product launches, it's an ideal spot to swap beauty tips, or test drive new items. If the first level takes you behind the scenes of a known experience, the second floor puts you back in your comfort zone.It's refreshing to find physical incarnations of a life lived in transactional clicks, and equally refreshing to know the human experience behind them. The design reflects these feelings, and brings to life the virtual experience with a sophisticated, people focused place. © Jerry Yin This posting includes an audio/video/photo media file: Download Now

How Terrol Dew Johnson and Aranda\Lasch Are Reinventing Basket-Weaving Traditions to Sustain Native Culture and Community Posted: 17 Aug 2017 11:00 AM PDT Courtesy of Aranda\Lasch This article was originally published on the blog of the Chicago Architecture Biennial, the largest platform for contemporary architecture in North America. The 2017 Biennial, entitled Make New History, will be free and open to the public between September 16, 2017 and January 6, 2018. Form follows function—that has been misunderstood. Form and function should be one, joined in a spiritual union. Frank Lloyd Wright may have famously said these words in 1908, but he was by no means the first to embody them. In fact, the deeper sense of unity that Wright sought in Modern architecture had existed centuries before his time as a guiding principle for Native peoples all over the world. Gourd Basket by Terrol Dew Johnson, 2014. Image Courtesy of Aranda\Lasch The Tohono-O'odham Nation of the Sonoran desert is one of those groups whose spiritual and physical lives have remained deeply intertwined to this day, through living traditions of craft and environmental stewardship. "In the Tohono O'odham language, we have no word for art [...] Instead, Native people have always looked to create artful ways of living, seeking ways to blend beauty and usefulness," the renowned Tohono O'odham basket-weaver, educator, and activist Terrol Dew Johnson has said. Johnson's artful baskets elegantly demonstrate this all-encompassing philosophy of life in the desert. Some are made from rigid panels, sewn together with many knots tied from local grasses. Others are light and flexible, adapting their shapes to new contents. Each vessel cradles the history of his ancestral culture and speaks to its survival in the face of contemporary challenges. In the early 2000s, Johnson was experimenting with new approaches to his ancient art form. Building on traditional designs, he began casting gourds in bronze and adding swooping contours of knotted cord. Across the country in New York City, the emerging architects Ben Aranda and Chris Lasch were exploring the possibilities of computational design as Aranda\Lasch. Their installations from the period are dizzying assemblages of fractal forms that zig and zag in space according to algorithmic patterns. In 2006, Aranda and Lasch happened to see Johnson's works at a basket-weaving exhibition at the National Museum of the American Indian in New York, and had a moment of realization. Morning Line by Matthew Ritchie and Aranda\Lasch, 2008-2013. Image Courtesy of Aranda\Lasch "What jumped out at us were the voices of the weavers as they were displayed on the wall—things like 'you just keep counting,' or 'you go over and under and around and around'—all these things that slowly dawned on us were algorithms," said Lasch. "So we realized that instead of patting ourselves on the back for how we're on the cutting edge of things, maybe be we should be talking to this tradition that figured these things out more than a thousand years ago." When the architects, who maintain an office in Tuscon not far from the Tohono O'odham Nation, noticed they also had a family friend in common, they cold-called Terrol to propose a collaboration. "Chris actually came out to Sells [Arizona] at one point, and I was really intrigued and curious because they were talking about designing baskets with the help of computers," said Johnson, "That really fascinated me. I'd never really collaborated with someone in this capacity, especially with a non-Native. I really took this as an opportunity and also as a challenge." Wood Basket by Terrol Dew Johnson and Aranda\Lasch, 2016. Image Courtesy of Aranda\Lasch Over a decade later, Johnson, Aranda, and Lasch have created an impressive series of objects that merge traditional weaving and coiling with cutting-edge digital fabrication techniques. By iterating on different formulas that move back and forth between computer-aided geometries and Johnson's deft fingers, the team has produced a series of stunning contemporary baskets now included in the permanent collection of the Museum of Modern Art. Their collaboration was the subject of an exhibition at MOCA Tuscon this winter entitled Meeting the Clouds Halfway, which presented objects in natural materials and a range of formats, scaling up from the baskets themselves to proposals for new types of desert dwellings. They will bring much of the same work to 2017 Chicago Architecture Biennial this fall, responding to its Artistic Directors' call to Make New History by weaving living Tohono O'odham tradition into the fabric of contemporary architecture practice. Grass Coil by Terrol Dew Johnson and Aranda\Lasch, 2016. Image Courtesy of Aranda\Lasch "I think our contribution to the Biennial is this long timeline, from some of the earliest cultural practices through quite modern ways of designing and making things with a computer," said Lasch. "It's the realization that these things that are conventionally thought of as categories, or as ruptures between the historical and the contemporary, or art and craft [...] it's actually more productive to think about those as continuums." Terrol Dew Johnson's assistant Harrison Preston weaves together the panels of a basket. Image Courtesy of Aranda\Lasch For Johnson especially, exhibiting these new baskets represents an opportunity to transcend the often circumscribed institutional setting in which Native artwork is presented. The Chicago Architecture Biennial will display the baskets in dialogue with contemporary works of design from all over the world, a rarity in an arts establishment that seldom engages with indigenous histories, life experiences, or cultural production. "I'm really excited to be shown first as an artist, then as a Native artist and as a Native basket-weaver," Johnson said. "One of my goals was to really break out of that Native American realm as an artist and into the mainstream, and this collaboration is really helping to achieve that goal." Knot #3 and Wire Coil 5 by Terrol Dew Johnson and Aranda\Lasch, 2016. Image Courtesy of Aranda\Lasch Johnson, Aranda, and Lasch are nevertheless focused on centering the symbolism of the O'odham Himdag, the Tohono O'odham culture and way of life, in the work itself. In one piece from a former exhibition, a swoosh of cedar bark twists into an exuberant spray of yucca. In another, pieces of bear grass are bound together with steel wire to form  spare, sinuous vessels. Art is inextricably bound with life, nature with technology, and tradition with the future. "The big takeaway from this collaboration has been seeing and reflecting on how we can connect what we do to bigger themes that are often kind of implicit in the work and the larger culture around it – things like history, tradition, ritual, and the culture of making," said Lasch. "There's all of this culture and meaning flowing through the object itself in the Native American tradition. Everyday objects are also cultural objects." Baskets made of wire, copper, and bear grass in various stages of assembly. Image Courtesy of Aranda\Lasch For Johnson, a lifelong advocate for Tohono-O'odham and Native American rights, traditional crafts constitute a language for resisting cultural extinction. And as with any language, weaving has the potential to evolve. Since he was young, Johnson has had the instinct to push boundaries and put his talents in conversation with the wider world – an instinct that's clearly visible in his contribution to the Biennial. "We've had the opportunity to experiment with different pieces, with wood and with metal, and in these latest pieces with horsehair and vegetation from the Sonoran desert we were really trying to capture an essence of nativeness," said Johnson. "I always try to incorporate some kind of traditional material, if it's a contemporary piece, just to keep those ties together." Cultural practices make up the foundation of a larger project of community-building that Johnson is leading within the Tohono O'odham Nation. He spends much of his time acting as president of Tohono O'odham Community Action (TOCA), an organization that looks to the Nation's traditional way of life in order to build economic security, food sovereignty, and well-being on the Arizona reservation. In addition to teaching basket-weaving and other crafts, TOCA preserves and serves traditional recipes at its restaurant in Sells, supports Tohono O'odham language classes, and keeps the rituals alive that tie members of the community together and nurture the desert landscape. Horsehair Basket by Terrol Dew Johnson and Aranda\Lasch, 2016. Image Courtesy of Aranda\Lasch "In everything that I try to do on a personal and professional level, I always bring along the idea of cultural revitalization. I always try to work towards opportunities that will benefit the work that I do in the community," said Johnson. "I'm grateful that Aranda\Lasch understood that I was more than just a basket-weaver and wanted to use this as a tool to educate people who will probably never ever set foot on the reservation where I live." Johnson, Aranda, and Lasch started making objects together in 2006, but over the years their ambitions have scaled up to address these larger cultural and material issues. More recent designs have included furniture pieces and even ideas for full-scale architectural structures tailored to the desert environment: simple shelters, a seed bank, an outdoor music venue, and even an Olas Ki, a traditional O'odham dwelling. Model of a design for a desert bandshell by Terrol Dew Johnson and Aranda\Lasch, 2016. Image Courtesy of Aranda\Lasch This transition may find its first major expression next year in the form of a full-scale structure. Building on their designs for open-ended gathering spaces, Johnson and Aranda\Lasch are currently working with institutional partners to realize an outdoor performance space in Phoenix, Arizona which would host celebrations of Native heritage and other public events. The group is also developing architectural visions with the knowledge that climate change has already disrupted centuries-old traditions and routines in the desert's fragile ecosystem. Crops are blooming too early, temperatures are rising, and crucial rainfall is becoming more unpredictable. Johnson, Aranda and Lasch are experimenting with forms of construction that not only channels the history of desert peoples, but may help shield the environment from further degradation. From left, designs for a bandshell, a seed bank, and an Olas Ki by Terrol Dew Johnson and Aranda\Lasch, 2016. Image Courtesy of Aranda\Lasch "I was taught that one of the first things our creator taught us was basket-weaving, and then we learned how to make houses from vegetation. Sticks were intertwined, walls were structured, things were put up to create arches and roofs – that's how things were done," said Johnson. "We've been talking about using the same idea for more contemporary buildings out here on the reservation, hopefully for public habitat. Instead of using brick and mortar, using mud and the vegetation in the desert." As climate change begins to pose an existential risk to desert communities like the Tohono O'odham, their mission to expand cross-cultural understanding has become further entwined with broader discussions about ways of life in the desert and the pursuit of common ground in a rapidly changing world. "I'm hoping native communities will see that and realize they come from a very rich and resourceful culture, and that it's just a matter of going back and researching how to utilize these skills," said Johnson. "And for the more general public, it's giving them a glimpse into what is happening and what could happen if these collaborations better the community, the environment, and architecture." The 2017 Chicago Architecture Biennial blog is edited in partnership with Consortia, a creative office developing new frameworks for communication who are editing the Biennial blog. This article also features embedded content from Are.na, an online platform for connecting ideas and building knowledge. This posting includes an audio/video/photo media file: Download Now

Chino Canyon Residence / Hundred Mile House Posted: 17 Aug 2017 10:00 AM PDT © Lance Gerber Architects: Hundred Mile House Location: Palm Springs, United States Lead Architects: Duane Smith Area: 2251.0 ft2 Project Year: 2016 Photographs: Lance Gerber © Lance Gerber From the architect. This project is a renovation and addition to a custom-built home built in 1954 at the base of San Jacinto Mountain in Palm Springs, California. The original layout, post-and- beam construction, wall of custom wooden windows and unique architectural detailing are reminiscent of Cliff May's iconic Rancho homes, yet the original architect is unknown. © Lance Gerber The primary goal with the program was to maintain the unique character of the original structure while upgrading the home to be more energy efficient, spacious and functional. Square footage was more than doubled, but the street presence was kept minimal. The new L-shaped footprint wraps around an entry courtyard and was inspired by classic ranch homes of the Southwest. A new pool and patio off the main living area as well as private outdoor spaces off each bedroom create a uniquely Californian experience. © Lance Gerber Floor Plan © Lance Gerber The original siting of the house fully considered the desert sun, keeping the main living area and window wall in shade for most of the day with deep eaves and a Northwest exposure. The addition extrapolates on the thoughtful siting and fully considers the home's desert location. © Lance Gerber The material palette is inspired by the desert – raw, harsh, but minimal. Rusted steel fencing and courtyard walls compliment a crisp sand-colored stucco, while the dark wood windows mirror the rust and add warmth and sophistication. © Lance Gerber This posting includes an audio/video/photo media file: Download Now

This Map Shows The Evolution of Frank Lloyd Wright's Oak Park Designs Posted: 17 Aug 2017 09:00 AM PDT © Phil Thompson Home to Frank Lloyd Wright for many years, Oak Park, Illinois is also the site of the greatest concentration of Frank Lloyd Wright-designed homes and buildings than anywhere else in the world. Having designed structures for the neighborhood for nearly four decades, Wright used Oak Park as a place to try out new techniques and evolve his personal style. Picking up on this, Illustrator Phil Thompson of Cape Horn Illustration has created a new map of Wright's Oak Park designs. Organized both chronologically and by location, the map allows viewers to make connections between the structures, as their lines evolved from gabled to flat roofs and expanded in scale and in ambition. Click the map to see it in detail. To learn more about the map or to purchase a print, click here. See more of Thompson's work below. Cape Horn Illustration Creates Detailed Ink Drawings of Chicago Residences For the past two years, artist Phil Thompson of Cape Horn Illustration has been creating pen and ink drawings of Chicago's homes and residential buildings. This posting includes an audio/video/photo media file: Download Now

Color Camp Manicure Bar / J. Byron-H Posted: 17 Aug 2017 08:00 AM PDT © Jennifer Chong Architects: J. Byron-H Location: Los Angeles, CA, United States Area: 675.0 ft2 Project Year: 2017 Photographs: Jennifer Chong Collaborators: Color Camp, Weekday Studi, Chris Earl © Jennifer Chong From the architect. Architect J. Byron-H teamed up with branding studio Weekday Studio to create the interior design concept for Color Camp, a manicure bar in Los Angeles, California. Located on Beverly Boulevard in the Fairfax District, this 675 square-foot space is the first of its kind in Los Angeles. Diagram As an architecture and branding team, we wanted to evoke a sense of playful discovery and avoid the predictable, cluttered environment often associated with contemporary nail salons. Instead, a bright white space is enlivened with bold shapes. Circles, semi-circles, concave and convex shapes play across bolsters, tables, shelving, doorways and branding. A gradient mural wall and custom bright blue furnishings bring pop accents of color. Industrial materials like concrete and steel are cushioned by a vibrant gradient of pinks, oranges and blues, a contrast found throughout LA whenever the roughness of the city's structures finds relief against its brilliant skies. © Jennifer Chong Cross Section © Jennifer Chong One of the challenges with this project was to make an extremely narrow existing interior space feel open and inviting without losing the functionality and efficiency of a nail salon. The primary organizational element of the space is the manicure bar: a long, slender, counter height table where guests and artists can choose to sit or stand. Above the bar is the hanging shelf, a multipurpose utility structure which acts as storage for tools and supplies as well as the provider of lights and audio. The top of the structure is accented with a lush array of tropical plants. Across the aisle are a series 1/4"-thick blackened steel 2-top tables which appear to fold out like paper and hover above the ground. The bar stools and chairs were customized for the space in collaboration with Los Angeles Furniture Designer, Chris Earl. © Jennifer Chong This posting includes an audio/video/photo media file: Download Now

Studio Gang and nAOM Selected as Finalists to Redesign Paris’ Tour Montparnasse Posted: 17 Aug 2017 07:20 AM PDT © Flickr user <a href='http://https://www.flickr.com/photos/chagiajose/2472909152/in/photolist-4LwiJG-TXcy2i-apaprx-nUefbb-dYZTk9-Uw3d5J-Egtc8u-sg1RU-hQUSkJ-8cS5Nx-7hcDwH-RND2eC-4t3s4X-dBV7pi-S3RSGn-cyjo71-sdwZYf-7bW6FG-zxBK7-5S2idP-mRUh4D-k5uJ16-sg1rV-MzfmA-sg3am-sg32Z-o77Vfu-btdtEs-pnAFrK-cx4smS-4yB5xs-k5vwfR-f9B5w6-8LnVbt-7Hh8Kn-SDm6c4-28F9us-fq1ohj-RoNfd7-f9DGvn-rc25NB-34drg4-34i1eU-UemyC2-mZu7JC-8vGir1-cFwZTm-jmLLVe-8JwF6h-7PtiSn'>chagiajose</a>. Licensed under CC BY-SA 2.0 Studio Gang and nAOM (Franklin Azzi Architecture / Chartier Dalix / Hardel-Lebihan Architectes) have been selected as the two finalist teams competing for the redesign of Paris' infamous Tour Montparnasse, beating out a star-studded shortlist that included OMA, MAD Architects (China) + DGLA (France), Architecture Studio, Dominique Perrault Architecture, and PLP Architecture.  The competition asked teams to submit a vision for the tower that "not only creates a powerful, dynamic and bold new identity for the Tour Montparnasse but also addresses all the challenges involved in terms of user accessibility, comfort and energy performance." "We were considerably impressed by the high standard of all seven proposals submitted but we had to make a choice. After all, that's what competitions are all about!" explained the jury on their decision. "Both final proposals meet client requirements in terms of a bold urban statement, environmental performance and high-quality user accessibility." "The City of Paris is delighted with the outstanding level of proposals competing in this final stage of the competition," said Jean-Louis Missika, deputy mayor of Paris for urban planning, architecture, attractiveness, economic development and the Greater Paris (Grand Paris) initiatives. "Both candidates have demonstrated an expert grasp of the urban challenges posed by the Tour Montparnasse. Their proposals will enable the tower to adapt to the challenges of the 21st century and establish a new landmark in Paris' modern cityscape." The €300 million project will be funded completely by the building's co-owners, meaning it will come at no cost to taxpayers. The winning project will be announced in September. Construction is scheduled to begin in 2019, with completion targeted for 2023. News via Demain Montparnasse. OMA, MAD Among 7 Architects Selected in Competition to Redesign Tour Montparnasse The Ensemble Immobilier Tour Maine-Montparnasse (EITMM) has selected 7 notable firms to continue to the second round in a competition for the renovation of Tour Montparnasse in the Montparnasse district of Paris, France. This posting includes an audio/video/photo media file: Download Now

Townhouses Hipódromo / envase Posted: 17 Aug 2017 06:00 AM PDT © Onnis Luque Architects: envase Location: Mexico City, CDMX, Mexico Architect In Charge: Luis Vargas Seoane Area: 745.0 m2 Project Year: 2016 Photographs: Onnis Luque © Onnis Luque From the architect. Responding to the continuous densification of the central area of Mexico City, the project introduces the townhouse as a housing model that promotes multiple spatial configurations as it is distributed over several levels. Four townhouses were constructed in two small and independent plots. © Onnis Luque Section © Onnis Luque A mixture between steel structure and concrete blocks suspends a wooden volume containing the private area. The resulting void becomes the public area, resembling the existing relationship between house and street. The contrasting materials used in both areas help to identify the function of each space and offer a diverse set of experiences to its inhabitants. First Floor Plan The main façade is left completely open to strengthen the connection between interior and exterior. This puts special emphasis on the walls that divide each unit and provides views of the surrounding trees. Generous light openings in both facades are complemented with a glass dome that runs vertically through each house connecting visually the activities happening in the interior. © Onnis Luque The vegetation plays a central role, contrasting the dominant material of steel and concrete at the outside of the houses, the balconies and terraces allow the trees and plants to embrace each unit. Constructive elements are exposed to present the project as a progressive housing infrastructure that can adapt to programmatic modifications in the future.  © Onnis Luque This posting includes an audio/video/photo media file: Download Now

Rafael Viñoly-Designed Ritz-Carlton Tower to Rise in New York City Posted: 17 Aug 2017 05:30 AM PDT Image EB5 Capital. Via New York YIMBY / 6sqft Designs have been revealed for a new 40-story skyscraper in New York City's NoMad neighborhood designed by Rafael Viñoly Architects that will house the newest Ritz Carlton Hotel. Located at 1185 Broadway, the will be noticeable for its embrace of greenery, including wraparound vegetated balconies and large, open terraces with enough vertical height for several trees. Image EB5 Capital. Via New York YIMBY / 6sqft Rising 580 feet to its peak, the building will stand out from its immediate vicinity, which is notable for its lack of tall buildings, especially when compared to nearby midtown and the batch of supertall towers currently rising along Fifth Avenue. Permit applications indicate the tower will contain approximately 165,000 square feet of total floor space, spread across 164 hotel rooms (averaging an incredible 934 square feet per unit) and amenity spaces, including two ballrooms, several bars and restaurants, a 29th floor club lounge and a rooftop bar. Nearly 12,000 square feet of ground floor space will be dedicated to retail. Image EB5 Capital. Via New York YIMBY / 6sqft Projected to cost $484 million, construction is expected to begin next year with completion slated for early 2021.  News via New York YIMBY, 6sqft. This posting includes an audio/video/photo media file: Download Now

Pennsylvania Farmhouse / Cutler Anderson Architects Posted: 17 Aug 2017 04:00 AM PDT © David Sundberg / ESTO Architects: Cutler Anderson Architects Location: Lakewood, United States Lead Architects: James Cutler, Meghan Griswold Area: 3000.0 ft2 Project Year: 2016 Photographs: David Sundberg / ESTO General Contractor: Breig Bros. Inc. Construction Supervisor: Frank Truncali Structural Engineer: Jerome Madden of Madden Baughman Engineering © David Sundberg / ESTO From the architect. Located on a 250-acre family farm in northeastern Pennsylvania, this 4 bedroom residence was designed to function for a large family. There was a strong desire to fit into the cultural context of Pennsylvania farming community, and the owners wanted to build a residence that was sustainable for the long term. © David Sundberg / ESTO To that end, the architects attempted to design a building that from a distance appeared to be a typical Pennsylvania farmhouse 'box'. The building was designed with large rolling screens that cut 80% of the solar gain, while still allowing good day lighting. Anecdotally, these have cut the summer interior temperatures by as much as 20 degrees F. Section The heat source is a deep-well heat exchanger backed up with a wood-fired boiler that is fueled with 'deadfall' from the forest on the farm. The building itself is highly insulated and the south-facing high-performance glass reduces radiant heat loss while allowing a substantive solar gain in the 'low sun' winter months. © David Sundberg / ESTO This posting includes an audio/video/photo media file: Download Now

How One Concrete Manufacturer Helps Architects Reduce Project Costs With An In-House Design Team Posted: 17 Aug 2017 02:30 AM PDT Courtesy of Gate Precast This article was originally published by Autodesk's Redshift publication as "Realizing Architectural Dreams Through Design-Assist and Precast Concrete." Ancient Romans mixed lime and volcanic rock to form a mortar, a precursor to modern reinforced concrete. This made engineering marvels like Rome's Colosseum possible—still standing more than 2,000 years after its construction. Today, this versatile material is evolving further: Precast concrete, which is formed and cured in factories before being installed onsite, is bringing about a new wave of architecture that streamlines the building process while reaching toward big, complex ideas. "Concrete is one of the world's only truly plastic building materials, and it allows architects to design iconic structures that stand the test of time, with low maintenance over 100-year lifecycles," says Mo Wright, marketing director at Gate Precast, one of the largest producers of precast architectural and structural elements in the US. Courtesy of Gate Precast A major component of delivering these iconic structures is Gate's involvement in design-assist, in which the precast subcontractor becomes an active part of the design process. "Design-assist is our way to show the design community how to cost-effectively realize, in concrete, their most progressive and cutting-edge ideas." With the design-assist model, Gate aims to get members of its engineering team on board at the starting point of each project design. "We really want to be engaged as early in the design process as possible, preferably in the conceptual or schematic phase," Wright says. "That allows our engineers and modelers to make meaningful contributions—not to change designs but to show designers how they can do what they want to do, structurally and efficiently." Courtesy of Gate Precast For Gate, adopting design-assist led to a commitment to in-house engineering expertise. The company directly employs 18 engineers, plus 64 modelers and designers, and uses Autodesk Revit to support them. "Without good modeling tools like Revit, design-assist wouldn't exist—we just couldn't be productive enough," Wright says. There are substantial advantages to design-assist precasting. First, it reduces complexity, which also reduces cost. By making slight adjustments to early concepts, designers can reduce the number of molds needed for precast elements, simplify casting and transportation of elements, and streamline installation. Design-assist also leads to fewer change orders and scope changes, and fewer conflicts during construction. "Early involvement with the design team gives us the opportunity to work with the architect's models in conjunction with our own models, which allows our BIM technicians to detect clashes and conflicts before we start pouring concrete," Wright says. "That's huge." Another benefit is reduced timelines. "When we're engaged early on by the owner to collaborate with the architect or engineer on a design-assist basis, we're able to move typical design work—like detailing of precast elements—upward in the process so we can start building molds as soon as contracts are finalized," Wright says. "We've seen this coordination shorten design and construction timelines by up to 24 weeks." Courtesy of Gate Precast The Perot Museum, in Dallas, Texas, is an early example of the design-assist model pioneered by Gate. "It was a turning point for the industry," says Wright. "Morphosis Architects faced unusual pressures on this project, and that made them more open to early engagement with us." Put simply, the museum foundation wanted the new museum to reflect Ross Perot's values, which meant a "museum for the people" that emphasized programs and collections over the physical museum—so design and construction costs had to stay low. But at the same time, Morphosis, and Principal Architect Thom Mayne, are well known for iconic buildings with sculptural, layered facades. Gate's design-assist contract proved to be an effective way to satisfy both needs. "At the time we were brought in, Morphosis was exploring ideas but hadn't settled on a particular concept," Wright explains. "This was ideal from our point of view. As we showed them what was possible with precast techniques, they responded with design ideas that might not have occurred to them otherwise. In turn, we were able to make suggestions that helped the final design to be more cost-effective." Perot Museum of Nature and Science / Morphosis Architects In the months that followed initial meetings, Morphosis designers sent Gate engineers designs based on what they were learning about precast capacities. "It was simple, playful stuff—spheres with concavities and protrusions, complex shapes, truncated cubes, you name it—that helped them to really become comfortable with what can be done. We'd mock up what they were asking for and ended up sending over several completed elements for their review." This hands-on involvement continued through the entire project, with Morphosis and Gate teams collaborating on the project site or at Gate's production facilities. One important innovation involved the 'modular' concept developed by Gate to realize the satisfyingly complex, striated appearance of the museum's otherwise-unadorned concrete shell. "We found a way to use a dozen molds interchangeably, rather than hundreds, to create a 350-panel surface that appears highly variable, without repetition," Wright says. "And that led to major savings." Other cost-cutting innovations included brand-new methods for fabricating curved panels and consistent use of concrete mixes in widely varying molds, which helped maintain a unified appearance. Courtesy of Gate Precast Gate's early involvement did save costs and also satisfied Morphosis' desire for a showy, iconic building—the Perot Museum has won numerous awards, and the precast facade in particular has been featured in several industry magazines. The latest innovative project for Gate Precast is the Two Trees Development at 260 Kent Street in Brooklyn's Williamsburg neighborhood, designed by COOKFOX architects. "It's just one of the amazing projects we're involved in now," Wright says. "We are on our 55th design-assist contract. To us, it seems like the United States is in the midst of a new renaissance of building, and we are very happy to be such an integral part of it." Technology and innovation are bringing a high level of productivity to the latest construction boom, with precast concrete and design-assist playing a big part. Although ancient Roman designers were master-builders who combined form, function, and constructability for awe-inspiring results, today's designers and engineers are creating modern, iconic structures with far less strain and fewer headaches. This posting includes an audio/video/photo media file: Download Now

Pacaembu House / DMDV arquitetos Posted: 17 Aug 2017 02:00 AM PDT © Maira Acayaba Architects: DMDV arquitetos Location: São Paulo, Brazil Area: 500.0 m2 Project Year: 2016 Photographs: Maira Acayaba Landscaping Project: KM arquitetura Paisagistica Structural And Foundation Projects: LHG Facilities Project: Ramoska & Castellani Building Construction: Edificon Team: André Dias Dantas, Bruno Vitorino, Renato Dalla Marta, Maíra Baltrusch, Rafhael Silva, Fernanda Miguel, Victor Vernaglia, Aline Pinheiro, Ronielle Laurentino e Fabiana Kalaigian. © Maira Acayaba From the architect. The starting point of this project was the analysis of the feasibility of maintaining the original construction in the lot, considering a deep reform, or the complete demolition to build a new residency. After studying the brief desired by the future residents, the implantation of the old house and the analysis of the structural system of the existing construction that did not allow great interventions, we concluded that we would achieve a better result considering the conception of a new residence © Maira Acayaba Decision taken, we seek to use part of the materials of the old construction in the new house. The bricks that can be seen apparent on the facades, the floor stones that compose the landscaping and part of the woodwork of the old construction were stored and reused in the new construction. Ground Floor Plan The irregular and accentuated geometry lot, as well as the solar analysis, were determinant in the distribution of the program and in the spatial organization of the project. In order to reduce the execution time, we opted to the use of a metallic structure, a solution that enabled greater spans, delivering the ground floor from structural interferences and allowing the "balances" that constitute protected interconnected spaces with the external gardens. © Maira Acayaba The lower floor, at street level, houses the garage for 4 cars, laundry, warehouses and technical areas. Being partially buried, this is the only concrete floor. The lighting and ventilation of these environments are made through small garden openings that houses the central heaters and a cistern buried to capture the rainwater that is reused by the automatic irrigation system of the gardens. In the upper floor, which we call ground floor, is the main living, interaction and leisure area of the family, consisting of living room, dining room, kitchen and TV room. The integration of the internal areas with the external gardens were prioritized through the adoption of glass closures around the perimeter. 1st Floor Plan The outdoor areas have been separated into two gardens: one in the front portion of the lot, connected to the kitchen and dining area, and the larger one to the bottom that houses the pool and wooden deck, and connects to the porch and barbecue, as well as the shed, A box covered with wood that has two floors composed by the toy room and library that open to the garden, and on the same, the space for sauna and rest. © Maira Acayaba In the first floor are the three dormitories, the two front ones are separated from the couple dormitory in the posterior portion by the emptiness of the high ceiling of the living room. To protect the frames of the setting sun, we used muxarabis of cumaru wood to protect the sealing glasses, improving thermal comfort. Section On the last floor, from where we can see the Pacaembu valley, we located the office, also protected from the sun by vertical bricks of cumaru wood and connected to 2 open terraces permeated by bins integrated to the metallic guardrails. © Maira Acayaba This posting includes an audio/video/photo media file: Download Now

World Photo Day 2017: Our Readers’ 100 Most-Bookmarked Architectural Photographs Posted: 17 Aug 2017 01:00 AM PDT This August 19th is World Photo Day, which celebrates photography on the anniversary of the day on which France bought the patent for the daguerreotype, one of the earliest photographic processes, and released it to the world for free in 1839. At ArchDaily, we understand the importance of photography in architecture—not only as a tool for recording designs, but also as a discipline that many of us enjoy. To celebrate the occasion, we decided to reveal the most popular images ever published on ArchDaily, as selected by you, our readers. Using data gathered from My ArchDaily, we have ranked the 100 most-saved images from our database; read on to see them. 01. Hiroyuki Oki Binh House / VTN Architects  © Hiroyuki Oki 02. Edith Verhoeven Modern Countryside Villa / Maas architecten  © Edith Verhoeven 03. Krzysztof Strażyński Apartment For A Guy And Even Two Of Them / Metaforma  © Krzysztof Strażyński 04. Agnese Sanvito Gallery House / Neil Dusheiko Architects  © Agnese Sanvito 05. Parham Taghioff Pars Hospital / New Wave Architecture © Parham Taghioff 06. Gwendolyn Huisman and Marijn Boterman skinnySCAR / Gwendolyn Huisman and Marijn Boterman  Courtesy of Gwendolyn Huisman and Marijn Boterman 07. Martin Gardner The Quest / Strom Architects © Martin Gardner 08. Iwan Baan Heydar Aliyev Center / Zaha Hadid Architects  © Iwan Baan 09. Shinkenchiku Sha Nest We Grow / College of Environmental Design UC Berkeley + Kengo Kuma & Associates  © Shinkenchiku-sha 10. Edward Hendricks House 24 / Park + Associates © Edward Hendricks 11. Kyungsub Shin The Layers / OBBA  © Kyungsub Shin 12. ArchSD Kai Tak Primary School / ArchSD  Courtesy of ArchSD 13. Jack Thompsen Concrete Box House / Robertson Design  © Jack Thompsen 14. Rafael Gamo Next Hydroponic Plant / CC Arquitectos  © Rafael Gamo 15. Anand Jaju Brick House / Architecture Paradigm  © Anand Jaju 16. Hufton+Crow Harbin Opera House / MAD Architects  © Hufton+Crow 17. Fernando Gomulya Splow House / Delution Architect  © Fernando Gomulya 18. Tom Blachford Courtyard House / FIGR Architecture & Design  © Tom Blachford 19. Kevin Scott Cabin at Longbranch / Olson Kundig  © Kevin Scott 20. Paolo Rosselli Bosco Verticale / Boeri Studio Courtesy of Paolo Rosselli 21. Shannon McGrath Armadale House / Robson Rak Architects + Made By Cohen  © Shannon McGrath 22. Brad Feinknopf TinkerBox / Studio MM Architect  © Brad Feinknopf 23. Ilya Kruchinin Landform House / A61architects + YYdesign  © Ilya Kruchinin 24. Ivan Avdeenko Arthouse / Pominchuk Architects  © Ivan Avdeenko 25. Terrence Zhang Parc Central / Benoy  © Terrence Zhang 26. Rafael Gamo Portales Dwelling / Fernanda Canales  © Rafael Gamo 27. Åke E-son Lindman Kalmar Museum of Art / Tham & Videgård Arkitekter  © Åke E- son Lindman 28. Nic Lehoux The Bear Stand / Bohlin Grauman Miller & Bohlin Cywinski Jackson  © Nic Lehoux 29. Sophie Mayer Rural House / RCR Arquitectes  © Sophie Mayer 30. Chibi Moku Swiss Simplicity / Wohlgemuth & Pafumi Architekten  © Chibi Moku 31. Andrés Lejona One on One / Moreno Architecture  © Andrés Lejona 32. Shai Epstein LB House / Shachar- Rozenfeld architects © Shai Epstein 33. Joao Morgado JA House / Filipe Pina + Maria Ines Costa  © Joao Morgado 34. Quang Tran Ccasa Hostel / TAK architects  © Quang Tran 35. Chris Warnes Allen Key House / Architect Prineas  © Chris Warnes 36. Andy Ryan The Nelson-Atkins Museum of Art / Steven Holl Architects © Andy Ryan 37. Vásquez Villegas Energy Living / M+ Group  © Vásquez Villegas 38. Liky Photos Work-Studio in a Plant-House / O-office Architects  © Liky Photos 39. Jeremias Thomas MeMo House / BAM! arquitectura  © Jeremias Thomas 40. Chen Hao The Qiyun Mountain Tree House / Bengo Studio  © Chen Hao 41. Hiroyuki Oki Apartment in Binh Thanh / Sanuki Daisuke architects  © Hiroyuki Oki 42. Imagen Subliminal Córdoba-Flat / Cadaval & Solà-Morales  © Imagen Subliminal 43. Yi Fan Seclusive Jiangnan Boutique Hotel / gad  © Yi Fan 44. ASSISTANT It Is A Garden / ASSISTANT © ASSISTANT 45. URBANTAINER Common Ground / URBANTAINER Courtesy of URBANTAINER 46. Dean Kaufman Grace Farms / SANAA  © Dean Kaufman 47. art4d magazine / Ketsiree Wongwan Forest House / Studio Miti  © art4d magazine / Ketsiree Wongwan 48. Peter Sexty Breeze Mooloolaba / Tony Owen Partners  © Peter Sexty 49. Beer Singnoi Townhouse with Private Garden / baan puripuri  © Beer Singnoi 50. Amit Geron Bare House / Jacobs-Yaniv Architects © Amit Geron 51. Gustav Willeit Guworld Haus am Stürcherwald / Bernardo Bader Architekten  © Gustav Willeit Guworld 52. Takahiro Nedachi / Shawn Liu Studio Hotel Proverbs Taipei / Ray Chen + Partners Architects  © Takahiro Nedachi / Shawn Liu Studio 53. Mike Sinclair Shelton Marshall Residence / El Dorado  © Mike Sinclair 54. Bitter Bredt Denver Art Museum / Studio Libeskind  © Bitter Bredt 55. John Horner Rock Creek House / NADAAA  © John Horner 56. Alan Williams Backwater / Platform 5 Architects  © Alan Williams 57. Philippe Ruault Seattle Central Library / OMA + LMN  © Philippe Ruault 58. Timothy Soar Caroline Place / Amin Taha Architects + GROUPWORK  © Timothy Soar 59. Raphael Olivier Neo-Brutalist Revival /  Raphael Olivier © Raphael Olivier 60. Atelier Alter The Paradise of Color / Atelier Alter  Courtesy of Atelier Alter 61. Filip Šlapal The BLOX / DAM.architekti  © Filip Šlapal 62. Alexander James Photography The Courtyard House / De Rosee Sa  © Alexander James Photography 63. Agnese Sanvito Stone Helical Stair / Webb Yates Engineers & The Stonemasonry Company © Agnese Sanvito 64. Mario Wibowo Soori Bali / SCDA Architects  © Mario Wibowo 65. MCA Estúdio LA House / Studio Guilherme Torres  © MCA Estúdio 66. NAARO Villa Ypsilon / LASSA architects  © NAARO 67. Sergio Pirrone Flying House / IROJE KHM Architects  © Sergio Pirrone 68. J.Roc Design Wooden Living-Roof / J.Roc Design Courtesy of J.Roc Design 69. Edward Hendricks 22 Toh Yi Road / Ming Architects  © Edward Hendricks 70. Mina Eden Villa / xyz architects © Mina 71. Åke E- son Lindman Atrium House / Tham & Videgård Arkitekter  © Åke E- son Lindman 72. Iwan Baan Beirut Terraces / Herzog & de Meuron  © Iwan Baan 73. Michael Neuhaus Residential House Cologne Hahnwald / Corneille Uedingslohmann Architekten  © Michael Neuhaus 74. Doublespace Photography The Lookout at Broad Cove Marsh / Omar Gandhi Architect  © Doublespace Photography 75. Héctor Armando Herrera CSF House / López Duplan Arquitectos  © Héctor Armando Herrera 76. Simón Garcia Citylife Apartments / Zaha Hadid Architects  © Simón Garcia 77. Katherine Lu Dolls House / Day Bukh Architects  © Katherine Lu 78. Nic Lehoux Photography Nk'Mip Desert Cultural Centre / DIALOG  © Nic Lehoux 79. Rasmus Hjortshøj - COAST  Krøyer Square / Vilhelm Lauritzen Architects & COBE  © Rasmus Hjortshøj 80. Steve Troes Boos Beach Club Restaurant / Metaform architects © Steve Troes 81. Doublespace Photography Rosemary House / Kohn Shnier Architects © Doublespace Photography 82. Wissam Chaaya Wadi Penthouse / Platau © Wissam Chaaya 83. Tim van de Velde CASWES / TOOP architectuur  © Tim van de Velde 84. Brett Boardman Wellington on the Park / Fox Johnston  © Brett Boardman 85. Himanshuu Sheth The Dasavatara Hotel / SJK Architects  © Himanshuu Sheth 86. Derek Swalwell Fitzroy Loft / Architects EAT  © Derek Swalwell 87. Hiroyuki Oki Thong House / NISHIZAWAARCHITECTS © Hiroyuki Oki 88. Stephen Goodenough Urban Cottage / CoLab Architecture  © Stephen Goodenough 89. K. Kopter Oasia Hotel Downtown / WOHA  © K. Kopter 90. Vincent Monthiers Eco-lodges Les Echasses / Patrick Arotcharen Architecte  © Vincent Monthiers 91. Tina Nandi Courtyard House / Abin Design Studio © Tina Nandi 92. Fabrice Fouillet DYEJI / Costa Lopes  © Fabrice Fouillet 93. Wison Tungthunya Hubba-to / Supermachine Studio © Wison Tungthunya 94. Adam Letch Clifton House / Malan Vorster Architecture Interior Design © Adam Letch 95. Ali Daghigh, Parham Taghiof ARG Shopping Mall / ARSH 4D Studio  © Ali Daghigh, Parham Taghiof 96. Alt Kat Photography Levent House / COA Mimarlık  © Alt Kat Photography 97. Sigurgeir Sigurgeirsson B14 / Studio Granda  © Sigurgeir Sigurgeirsson 98. Maxime Brouillet Le Banc de Neige / Atelier Pierre Thibault  © Maxime Brouillet 99. Robert Polidori Chhatrapati Shivaji International Airport - Terminal 2 / SOM  © Robert Polidori 100. Bajura Oleg Piano House / LINE architects  © Bajura Oleg This posting includes an audio/video/photo media file: Download Now

Upcoming 685-Foot Tiered Residential Tower To Extend Austin's Skyline Posted: 16 Aug 2017 11:00 PM PDT Courtesy of The Independent Construction has begun on The Independent, a 685-foot residential tower set to be the tallest of its kind, located west of the Mississippi in Austin. Designed by local practice Rhode Partners, major progress in shaping the building's stacked and offset form has been made, through the setting of the 24th floor to create the first of these tiers, which encompass 58 stories and 370 units.  Inspired by Austin's bold and innovative spirit, the movement between The Independent's tiers is an outward reflection of the vibrant lifestyle within the building and surrounding community, explain the design team. In a city currently having a tech resurgence with a number of entrepreneurs and startups calling Austin home, not to mention the new Google offices quickly moving in at the end of this year, The Independent is in a prime location in Austin's bourgeoning downtown neighborhood. Courtesy of The Independent Courtesy of The Independent In addition to residential units ranging from single to four bedrooms, the building accommodates a wide range of amenities, encompassing over 20,000 square feet across the 9th and 34th floors. An infinity edge heated pool, playground, coffee bar and outdoor lounge are found on the 9th floor, as well as a revitalized shoal creek and guest suites. Courtesy of The Independent Courtesy of The Independent The 34th floor is home to a cantilevered fitness center, a yoga studio, a chef's catering and a business center, which includes board and conference rooms. A cantilevered 25-person theatre is another main feature of the residential tower, offering floor-to-ceiling views of Austin. The 20 "optimized floor plans" available in the building aim to capitalize on the surrounding cityscape, offering views in all directions from a new high point in Austin's skyline, envisioned through these simulations. Courtesy of The Independent Courtesy of The Independent With construction started, The Independent is scheduled for completion by late 2018. News via: The Independent. Seattle's Upcoming 134 Meter Residential Tower Takes Form As Series of Stacked Cubes A 440 feet (134 meters) tall stack of twisting cubes, Nexus is an upcoming residential tower planned for the northern edge of downtown Seattle, as the city experiences a shortage of for-sale housing amidst a thriving rental market. Steven Holl Architects Break Ground on Houston Museum of Fine Arts Extension Steven Holl Architects has broken ground on the Nancy and Rich Kinder Building for Modern and Contemporary Art at The Museum of Fine Arts in Houston, Texas. Selected through an international competition in 2012 among finalists Snøhetta and Morphosis Architects, the winning proposal is a 164,000-square-foot museum building that will be one of the campus's two newest additions. This posting includes an audio/video/photo media file: Download Now

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