Arch Daily |
- The Power of Architectural Drawing: The Sketches That Saved St. Mark's
- Studio + Living + Production / stifter + bachmann
- Courtyard House / INOSTUDIO
- Sheikh Nahyan Centre for Arabic Studies & Intercultural Dialogue / Fouad Samara Architects
- Roof and Rectangular House / Jun Igarashi Architects
- Chui Yuan / Shanghai HuaDu Architecture and Urban Design Group
- Thailand Creative and Design Center / Department of Architecture
- ALL SH Store / Linehouse
- Herzog & de Meuron Designs New Campus for Berggruen Institute in the Los Angeles Hills
- Mercado del Rio / Morales Vicaria Arquitectura
- The World's First Hologram Table is Here, and Could Be Yours for $47,000
- Arts District Loft / Marmol Radziner
- Participate in the Observatory of the 11th São Paulo Architecture Biennial
- Mecanoo Selected to Transform Perth City Hall in Scotland into New Cultural Center
- Playster Headquarters / ACDF Architecture
- Rereading Jane Jacobs: 10 Lessons for the 21st Century from "The Death and Life of Great American Cities"
- Boathouse / Cibinel Architecture
- Norman Foster Is 82 And He Instagrams Better Than You Do
- Álvaro Siza and Others Imagine Possible Scenarios for a Reconstructed Syria
- shedkm's £130 Billion Mixed Use Masterplan to Facilitate Brighton's Economic and Creative Revitalisation
| The Power of Architectural Drawing: The Sketches That Saved St. Mark's Posted: 23 Aug 2017 09:00 PM PDT This short essay, written by the author and critic Jonathan Glancey, coincides with the launch of the inaugural Architecture Drawing Prize – a competition curated by the World Architecture Festival, the Sir John Soane's Museum, and Make. The deadline for the award is the 18th September 2017 and successful entries will be exhibited in both London and Berlin. For John Ruskin, Venetian Gothic design in the guise of polychromatic gasworks in Brentford, ornate factory chimneys in Croydon, glistering gin palaces in Bloomsbury and even the well-meaning Reform Club in Manchester was nothing short of anathema. Even at their risible best, these flamboyant Victorian buildings were idle travesties of the influential 19th Century critic's beloved Ca' d'Oro and Palazzo Ducale adorning the Grand Canal.  <a href="https://commons.wikimedia.org/wiki/File:The_Casa_d_Oro_Venice_Ruskin.jpg">The Casa d'Oro, Venice. Pencil and watercolour, with bodycolour, 33 x 47.6cm</a> (1845) licensed under Public Domain. Image Courtesy of John Ruskin Ruskin's problem was that he was all too influential. His passion for Venice encouraged enthusiastic young British architects to adopt Venetian Gothic for buildings of a very different era than that of the late medieval and early Renaissance heyday of "La Serenissima" and under the cloudy auspices of a wholly different climate. His compelling books—The Seven Lamps of Architecture (1849) and the three volumes of The Stones of Venice (1851-53)—led the Gothic Revival into a bizarre aesthetic blind alley. This was not Ruskin's fault, although when you read him on Venice and look at his drawings of the city's animated architecture, it is easy to understand why Venetian Gothic became fashionable a century and a half ago. Ruskin made eleven long trips to Venice, the first in 1835 when he was sixteen, the last in 1878 by which time he was on the edge of the breakdown that led to the silence of his last decade staring over the elemental wilds of Coniston Water rather than the exquisite artifice of the Grand Canal.  <a href="https://commons.wikimedia.org/wiki/File:Part_of_St_Mark_Venice_Ruskin.jpg">Part of St Mark's, Venice, Sketch after rain. Pencil, watercolour, ink and bodycolour on grey paper, 42.1 x 28.6cm</a> (1846) licensed under Public Domain. Image Courtesy of John Ruskin From precise, if skeletal teenage drawings of the Doge's Palace to emotional chiaroscuro pencil and charcoal sketches and Turneresque watercolours capturing the detail while evoking the emotions of Venetian Gothic design, Ruskin's understanding of the city he adored matured with each visit. If, though, they seduced the eyes of young British architects working on the designs of carpet factories in Glasgow and tea rooms in Sunderland, they also encouraged Venetians themselves to take stock of the weathered beauty of their peerless architectural heritage. It was Ruskin's eye, his powers of argument and superb drawings that led Venetians away from the idea of renovating St Mark's so that it would look brand new towards a subtle restoration retaining the patina of past ages of craftsmanship, use and care. What Ruskin could never have dreamed of was the fact that his writings inspired by Venice and his drawings of Venetian architecture would help spark an intellectual and aesthetic revolution a quarter of a century after his death. When Le Corbusier wrote, "Architecture is the learned game, correct and magnificent, of forms assembled in the light", he was echoing Ruskin. "I do not believe that ever any building was truly great, unless it had mighty masses, vigorous and deep, of shadow mingled with its surface". He was thinking of Venice. This is what he drew. The power of his Venetian drawings might have prompted ornate factory chimneys in Croydon, yet they also led to the pilgrimage chapel of Ronchamp with all its play of light, shadow and craft, its sense of Ruskinian moral purpose. The inaugural Architecture Drawing Prize is accepting entries until the 18th September, 2017.  <a href="https://commons.wikimedia.org/wiki/File:Study_of_the_Marble_Inlaying_on_the_Front_of_the_Casa_Loredan.jpg">Study of the Marble Inlaying on the Front of the Casa Loredan, Venice. Pencil, watercolour, and bodycolour, 32 x 26.7cm</a> (1845) licensed under Public Domain. Image Courtesy of John Ruskin
 This posting includes an audio/video/photo media file: Download Now |
| Studio + Living + Production / stifter + bachmann Posted: 23 Aug 2017 08:00 PM PDT  © Oliver Jaist
 © Oliver Jaist From the architect. A former artisanal enterprise with a small production hall and adjoining service wing for administration and a company apartment was revitalized and converted for use as a studio + living space + production. The site is located on the outskirts of a village, surrounded exclusively by other artisanal business but directly adjacent to meadows and fields.  © Oliver Jaist Rather than tear down the not-very-attractive 1980s building, the architects opted to incorporate it into their new concept. The ground and first floors were dismantled down to the support structure, keeping the façade openings and the staircase, and the full storeys were added on top. Levels 0 and +1 serve as a studio, while level +2 and +3 are designated for residential use.  © Oliver Jaist  Floor Plans  © Oliver Jaist The old production hall was renovated with little effort and has resumed its original function. Enveloping both the preserved building sections and the new volumes over all four storeys is a curtain wall of transparent corrugated plexiglass sheets. This second skin provides additional insulation as well as protecting the unfinished façade insulation of cement-bonded wood panels from the elements. Through this outer shell, pleasantly diffuse daylight enters the rooms, with sliding elements allowing the degree of privacy to be regulated at will.  © Oliver Jaist  This posting includes an audio/video/photo media file: Download Now |
| Posted: 23 Aug 2017 07:00 PM PDT  © Marcin Grabowiecki
 © Marcin Grabowiecki From the architect. The plot is located close to the forest but also among dense single family housing. The location of the plot and the view for the forest have given us a direction for shaping the building. We have chosen a rather spacious building with the inside courtyard.  Void Scheme The ground floor is cut off from the neighbors by the lack of windows in the side walls. However, it is open to the garden and the courtyard. On the first floor, by taking a piece of the roof and creating two terraces, there is a view to the forest and Gliwice Radio Tower the tallest wooden structure in Europe.  © Marcin Grabowiecki Local planners determined a roof geometry: pitched, symmetrical roof, perpendicular or parallel to the road. The building is compact, simple and minimalistic. It gives the impression of being inaccessible due to the small number of windows on the ground floor and lack of roof windows.  Ground Floor Plan  © Marcin Grabowiecki  First Floor Plan The inside of the house is varied in height and shaped according to the function. It has a dark outside shell and white cutouts. There is a lot of light in the building, but it is not overexposed because there is plenty of reflected light: an interior well in the form of a courtyard, windows in the terrace and skylights.  © Marcin Grabowiecki Courtyard and terraces on the upper floor are intimate outdoor spaces inside the shell building. Courtyard gives the opportunity to keep an eye on nature and on atmospheric conditions. Thanks to it nature has been introduced into the home. Thanks to the courtyard sunlight and terraces in the roof, we have obtained an unusual space and an interesting natural light effect.  © Marcin Grabowiecki There is no need for additional windows in the side walls and roof windows. The terraces on the upper floor are partially sheltered by a roof so that the neighbors can not see anybody there but one can see the surrounding. There is a direct entrance from each of the two bedrooms to the terraces. Inside, there is simple, white design and the limited amount of materials, because we wanted the courtyard to be the most important element.  © Marcin Grabowiecki  Height and Light Schemes  © Marcin Grabowiecki The building has minimalistic details: hidden gutters, no long eaves, no chimneys, simple roof shape, no bay windows, no scattered elements, no roof windows. All these interventions help to achieve its energy efficiency.  © Marcin Grabowiecki  This posting includes an audio/video/photo media file: Download Now |
| Sheikh Nahyan Centre for Arabic Studies & Intercultural Dialogue / Fouad Samara Architects Posted: 23 Aug 2017 05:00 PM PDT  © Ieva Saudargaite
 © Ieva Saudargaite From the architect. CASID is a recent addition to the existing and firmly rooted fabric of the University of Balamand. It creates a forum for cultural, intellectual, and religious exchange; and aims to embody the progressive ethos of the University, fortifying its role as a nexus for excellence in education, thought, and dialogue within the Arab world.  © Ieva Saudargaite Located on a gently sloping site with an unobstructed view of a walnut grove, the campus in the foreground, and the Mediterranean Sea beyond, the design of CASID evolved from the concept of dialogue. Dialogue with its immediate site, architectural heritage, and wider cultural context of Al Kurah and Lebanon.  © Ieva Saudargaite  Ground Floor Plan  © Ieva Saudargaite The building aims to engage faculty, students and visitors alike, be a non-authoritarian accessible platform for cultural and intellectual exchange, and offer a progressive image of Arabs to the world.  Sketch A modern interpretation of the traditional courtyard buildings of the Levant, CASID is not a fort like structure. On the contrary, it knits itself into the site, opens to all its surroundings, and engages with them. A forum for the entire campus, it opens up towards the West symbolizing its role as a vehicle for intercultural dialogue. Access to the building is provided from all sides and respective levels of streets and landscape around, further symbolizing its role as a nexus of exchange accessible to all. The eastern part of the building roots itself into the landscape, and is built perpendicular to it, reflecting how traditional Levant architecture deals with construction on a slope. The western part hovers heroically creating the main entrance aligned to the street while embodying the aspirations Arabs must have for the future. The southern part acts as a natural extension to the landscape itself.  © Ieva Saudargaite The roof is seen as the fifth elevation clearly visible from the hills around, and therefore developed into an accessible green roof preserving the planted heritage of the site and providing another public space with unparalleled views.  © Ieva Saudargaite The materials pallet chosen for CASID is simple and precise. In addition to clear glass, used critically where the building touches the sloping site allowing continuity between in and out, rough shuttered reinforced concrete - 'Beton Brut', the indigenous building material of the day in this part of the world - is used for the structure and envelope. Non-structural walls and suspended ceilings are painted white. Floors, in and out, are honed Basalt. Façades exposed to the western sun have aluminium sun baffles articulated in both spacing and size as a modern and abstract interpretation of Arabesque – itself a play on the size and rotation of geometric forms.  © Ieva Saudargaite By applying a stringent design process, void of stylistic preoccupations, Fouad Samara Architects (FSA) have aspired to create an indigenous piece of architecture that precisely responds to the use of the building, its site, and the cultural message it wants to send out. In defining this aspiration, CASID becomes an objective and honest translation of that.  © Ieva Saudargaite  This posting includes an audio/video/photo media file: Download Now |
| Roof and Rectangular House / Jun Igarashi Architects Posted: 23 Aug 2017 03:00 PM PDT  © Ikuya Sasaki
 © Ikuya Sasaki From the architect. I keep on design activities in Hokkaido, so most of my projects ran there. By designing in a remarkably cold, I continued thinking on response to completely different contexts from other areas. They are mainly "cold" and "snow". Of course there are other various things to deal with, but these contexts have the great impact. In this state, I felt the possibility of "a windbreak room" and thought about the expansion and diversity.  © Ikuya Sasaki This was not only a physical response, but also a response to pleasure. Even in the building code, there are rules that respond to the area of the frost line. However, the code primarily corresponds to performance, not to pleasure. Some people think it is natural, but I think that it is natural to think that its criterions are for the purpose of people's pleasure. In that case, I have long believed that there should be regional standards and easing of regulations about the size of the "roof" in the snowy land. Snowfall gives various restrictions to our life. The most serious of them is cleaning snow. Houses are often built mainly in residential areas. That means that the building coverage ratio is low. Therefore, the size of the roof becomes smaller.  Ground Floor Plan  © Ikuya Sasaki  First Floor Plan  © Ikuya Sasaki What I always think about when I designed for example the roof of the approach between the "windbreaker room" and the main infrastructure road and the parking space is that the life in snowy land is dramatically improved by rather doing away with than easing of the building coverage ratio. Furthermore, there is a possibility that it can lead to the creation of landscape peculiar to the area. From this kind of thinking I designed this house. First of all, we set up a large roof full of building coverage ratio and placed a compact one-room dwelling below it. The air volume was reduced by using the frost line.  Section Between the interior space and the outdoor space there is a rectangle under the large roof. Although this space is treated as an indoor in the building code, physically it can be said that both outdoor and indoor, semi-indoor and semi-outdoor. The rectangle under the roof responds to the pleasure of life both summer and winter. And it will connect life with the city and the earth space. It is also an attempt and possibility of an intermediate area.  © Ikuya Sasaki  This posting includes an audio/video/photo media file: Download Now |
| Chui Yuan / Shanghai HuaDu Architecture and Urban Design Group Posted: 23 Aug 2017 01:00 PM PDT  © Su Shengliang
 © Su Shengliang From the architect. The project is located in an old historical district in Shanghai within more than 70 years. It has be the sole living space for three generations. Now it will be served as a brand new apartment for the youngest couple. With the limitation of 35sqm, the squeezed space should be sufficient for all three generations.  Diagram  Diagram One of the biggest feature of the building is the triple height space. The architect blend the spatial quality of Chinese garden with full richness into such a small apartment, transforming the space complexity from 2d to 3d, creating a dynamic moving experience in the project.  © Su Shengliang In the most of traditional Chinese gardens, the space is quite limited. So one should find a way to squeezed all nature elements into this small plot. There are several techniques be used in Chinese landscape design, which could also be implemented into interior design.  Diagram "Seeing grandness through smallness" is one of the most important techniques. One should experience much more bigger space in such small plot.  © Su Shengliang In this project, designer used many movable doors and furniture to transform space form closed to open, creating much more dynamic space experience in small scale. People could see different thing by walking along the space. This is call "moving by seeing" in garden making.  Section  Floor Plan All rooms become only a fracture of the whole experience, creating a holistic opera experience altogether. The strategies of " winded walking circulations" as well as "borrowing views from outside" are also heavily implemented in the project.  © Su Shengliang "The Story of the Western Wing" as one of the greatest opera of all time, is also introduced in the project. We want to recreate the scenes of this opera in this tiny nutshell.  © Su Shengliang For instance, "TING", meaning pavilion in Chinese, is recreated in the top of the space, becoming a social space for chatting and relaxing. "Tai", meaning podium, is created for the living room, providing Tv and other entertainment system. "Shui" meaning water, indicates the whole walking experience in the apartment.  © Su Shengliang The whole project is a collage of traditional Chinese garden and modern city life, in order to project the relaxing old fashioned Chinese landscape design into modern fast-pace life in contemporary Chinese metropolis  © Su Shengliang  This posting includes an audio/video/photo media file: Download Now |
| Thailand Creative and Design Center / Department of Architecture Posted: 23 Aug 2017 12:00 PM PDT  © W Workspace
 © W Workspace From the architect. Thailand Creative and Design Center (TCDC) is a government agency with a mission to inspire creative thinking in the society and to propel the country's creative economy. It provides a broad range of resources and services. The main components are a design library, a material library, and a co-working space. Other components include a makerspace, exhibition spaces, and workshops.  © W Workspace TCDC is now moved to its new place in the side and back wing of the historical Grand Postal Building. The design of the space is intended for the new intervention to have a dialogue with the old building and at the same time to answer to TCDC's mission to be the country's creative incubator.  Exploded Floor Plans A creative space is not 'creative' because of how it looks but it is a place that inspires. It is about creating a space where people can connect, discuss, and work together. It is a place where people can see and be seen on the activities they do to inspire one another. It is a place that would allow for the new and the unknown events to happen, a reprogrammable space. It is a place that surrounds us with inspiring resources and knowledge, with books and digital media, and rotating exhibition spreading throughout.  © W Workspace The resource center is not planned as traditional silence libraries. Instead, a large portion of space is designed to encourage conversations in a setting more like a cafe or a co-working space. These work spaces are spread throughout the building mixing with other programs where work and discussion can happen everywhere. The openness of the space brings people together and allows for them to start to interact with a spontaneous conversation. The main circulation cut through the section of the building bringing people to flow pass different facilities to be inspired by what others are doing. Most of the spaces are flexible with movable furniture and adjustable systems to allow for flexible situation and various creative activities to happen.  © W Workspace Exhibition nodes are integrated into all spaces - with shelving systems, wall systems, spaces along corridors, corner spaces, central spaces. Fresh ideas are always presented within reach and always surround us for inspiration.  © W Workspace Within the historical building, the new is inserted as an object, placing within and offsetting from the existing envelope, clearly revealing architectural features from the 30's. The present-day material in its light, translucent, blurring, and glowing quality is having a dialogue with the massive character of the historical shell. The new and the old are interestingly contrasting, enhancing and complementing one another.  © W Workspace This translucent architectural system wrapping around and inserting throughout the facility is holding the essence of what TCDC provides - inspiration and knowledge. It is designed to contain everything from books, magazines, material samples, digital media, mini exhibition, brainstorm boards, announcement, etc. The inspiration runs through and encompasses all the creative spaces.  © W Workspace  This posting includes an audio/video/photo media file: Download Now |
| Posted: 23 Aug 2017 10:00 AM PDT  © Dirk Weiblen
 © Jonathan Leijonhufvud From the architect. Linehouse was commissioned to design the second store for streetwear retailer ALL SH, to create a completely different identity from the first store. The 20 sqm store is located in a design community with a large shop frontage.  © Jonathan Leijonhufvud  Plan  © Jonathan Leijonhufvud Responding to the urban nature of the store location, Linehouse created a curved stainless steel installation which operates as a retail system on the interior, as well as a dynamic façade treatment. Perforated stainless steel panels with a graphical treatment of varying punctures and patterns were inserted, shifting between the inside and outside and creating pockets of the retail display either facing out onto the street or into the store.  © Jonathan Leijonhufvud A large curved panel creates a sweeping passage for customers to enter the store.Tubelights are inserted within a U channel between each panel to create an impactful and playful lighting effect for passing pedestrians.  © Jonathan Leijonhufvud  This posting includes an audio/video/photo media file: Download Now |
| Herzog & de Meuron Designs New Campus for Berggruen Institute in the Los Angeles Hills Posted: 23 Aug 2017 09:30 AM PDT  © Herzog & de Meuron Herzog & de Meuron, in collaboration with Michel Desvigne Paysagiste, Inessa Hansch and executive architect Gensler, have revealed designs for a new "Scholars' Campus" for global think tank the Berggruen Institute to be located in the Santa Monica Mountains overlooking the city of Los Angeles. Inspired by the designs of traditional monasteries and hilltop villages, the scheme is rooted in the restoration and appreciation of the landscape. Along with the series of structures containing the Institue's residence, meeting and study spaces, over 90% of the 447-acre site will be preserved as natural open space.  © Herzog & de Meuron "The mission of the Institute is to develop and encourage new ideas for a changing world and to propose practical solutions that can transform society—and humanity—for the better," said Institue founder Nicolas Berggruen. "By building our campus here on the Pacific coast, we hope to advance the position of Los Angeles as a world center for ideas, linking the East to the West. By commissioning this visionary design from Herzog & de Meuron, we demonstrate our intention to make an important contribution to the architecture of Los Angeles and the world." The project site is located along a mountain ridge that was flattened in the 1980s as a landfill cap. The extreme topographical limits of the site shaped the campus into a linear path dotted with landscaped gardens. Filled with local flora, these areas help to collect and filter water for reuse. Existing public hiking trails crossing over the site will be incorporated into the campus design, enhancing access to the Institute.  © Herzog & de Meuron  © Herzog & de Meuron The 137,000-square-foot main facility is placed at the southern end of the ridge, a concrete structure hovering 12 feet above the ground and framing panoramic views of the city and landscape. Here, the main living, studying and meeting spaces feature on one level, with mezzanine spaces interspersed throughout, providing accommodation for up to 26 Scholars-in-Residence units and 14 Visiting Scholars. A central sphere rising 45 feet beyond the roofline of the frame will serve as the beacon of the site, as well as hous a 250-seat lecture theater. Further north, the "Scholar Village" will offer 26,000 square feet of residential spaces featuring generous private outdoor areas and living gardens. At the northern end of the campus, a 26,000-square-foot single-story compound known as the "Chairman's Residence" will contain a library, conference room, dining and catering areas and additional residential areas. A heavily landscaped area of the north side of the building will act as a buffer between the Institute and the nearby residential community.  © Herzog & de Meuron "The Berggruen Institute's architecture is intertwined with a specific landscape concept." said Jacques Herzog. "The rough coastal scrubs and woodlands on the hills and ridges of the property within the Santa Monica mountain range will be juxtaposed with an abundance of specific and diverse gardened areas. The current barren ridge where the campus will be sited is transformed into a self-sustainable oasis by means of a water system within the Institute's campus based on harvesting, collection, cleaning and re-use." "Such transformative, immediate impact is also what the Institute and its fellows aim to achieve through their work on today's most urgent concern: the economic, political and ecological imbalance in our societies between scarcity and plenty."  © Herzog & de Meuron Plans for the project have been submitted to the City of Los Angeles for environmental review. A timeline for construction is yet to be announced.  This posting includes an audio/video/photo media file: Download Now |
| Mercado del Rio / Morales Vicaria Arquitectura Posted: 23 Aug 2017 08:00 AM PDT  © Julian Restrepo
 © Julian Restrepo From the architect. Mercado Del Rio is located in the place where there used to be an old cellar of 2,071 m2. Between the Autopista del Río and the avenue Los Industriales, in front of the Bancolombia Building. With the two fronts of these buildings is formed the new terminal park.  © Julian Restrepo The triangular shape of the old cellar is due to the fact that the railroad lines used to transport coal from the municipality of Amagá passed tangentially to it, and at this point, they crossed the Medellín river towards the western side.  Before  First Level Plan  © Julian Restrepo Recycling is built taking into account its historical origin of the railways and takes as an architectural reference the old train stations.  © Julian Restrepo The facades of enclosure of the building are made of exposed brick, these are recycled and added to a new solid brick to create the access arches and tower that form the corner and the highest and most outstanding genres of the Clock) , which is complemented with perforated iron metal sheets and rust-type die, along with the exposed metal structure that reinforce the industrial air of Antigua desired train station.  © Julian Restrepo For the new use is taken as an example the renewal of European markets that have been transformed into gastronomic centers, where the environment that is generated is a site for the collector, the tomato is a good wine and spends leisure time in a way Informal and uncomplicated, with a wide variety and gastronomic options.  © Julian Restrepo In the first level is implemented a geometry in the central places based on diagonals, triangles, and diamonds that gives the place a visual dynamism that avoids the possible monotony that could occur in a single space.  Section A In this first level are the smaller premises as traditional stalls of the markets, where they sell varied food such as ceviches, Spanish tapas, crepes, mixed rice, gourmet burgers, paellas, hams, cheeses, desserts, and so on; Along with the Enoteca, brewery, and coffee.  © Julian Restrepo In the common spaces along the route and between the places there are bar tables to share among all the premises, allowing spontaneous groups of family and friends to participate in any place regardless of where they bought their food or drinks.  Second Level Plan This series of small food distribution places the form that genres a circuit in order to invite customers to tour each of the small spaces and enjoying an experience of meals, snacks and liqueurs; Two large staircases that open in the clock tower invite you to access the second floor where some larger restaurants with their own tables are located and are destined to an area of rest puffs to enjoy an unprepared and spontaneous way of a good rest.  © Julian Restrepo  This posting includes an audio/video/photo media file: Download Now |
| The World's First Hologram Table is Here, and Could Be Yours for $47,000 Posted: 23 Aug 2017 07:10 AM PDT  Courtesy of Euclideon Holographics After years of movie magic made hologram tables the objects of our futuristic affections, the technology to create our own Star Wars- or Minority Report-esque setup is finally here. Australian company Euclideon has developed the world's first multi-user hologram table, which allows four people to interact simultaneously with images projected onto the table surface. And unlike other AR technology currently available, the system operates without those clunky headsets that take you out of the immersive, real-world experience; instead, the company has produced sleek, motion-tracking glasses than look like a cousin of your favorite sunnies. It's the glasses themselves that produce the hologram images – frequency separation crystal films in the lens and on the table surface filter jumbled light into a stereo image, similarly to how your standard 3D glasses work. But what makes the image realistic is the computer inside the table – the table communicates with microchips located within the glasses to give a precise location of the glasses and what they are viewing, allowing the exact projection of light to be calculated and emitted.  Courtesy of Euclideon Holographics A single 1.5 meter by 1.5 meter prototype table has been produced so far, but interest in the project has generated enough funding that Euclideon believes a production version may be available for public purchase as early as February 2018. Euclideon CEO Bruce Dell has estimated the initial price to fall around $47,000, with larger models, including one big enough to stand on, in the works. News via New Atlas, Euclideon. H/T Interesting Engineering.
 This posting includes an audio/video/photo media file: Download Now |
| Arts District Loft / Marmol Radziner Posted: 23 Aug 2017 06:00 AM PDT  © Jessie Webster
 © Jessie Webster From the architect. The Arts District Loft is an alteration of a 2,000-square-foot condominium loft in the Toy Factory Lofts, a 1924 warehouse located in the Arts District in Downtown Los Angeles. The alteration included the removal of existing partitions to combine two bedrooms into one master suite; the installation of casework to reconfigure the living room and bedroom; and the renovation of the kitchen, bathroom, and powder room.  © Jessie Webster To create a more intimate living space also suitable for entertaining, we aimed to create distinct areas within the existing open floor plan. In the main space, we raised a 20-foot by 20-foot area 18 inches in the southeast corner to delineate a living room area and optimize the south- and east-facing windows. The resulting floor-to-ceiling windows provide a visual connection to the street that previously did not exist.  © Jessie Webster Separating the living room from the adjacent master suite is a custom bookcase with three bays that rotate 90 degrees. When left open, the bookcase lets in natural light from the living room windows, while the resulting ledge doubles as flexible seating for the master suite sitting area. Just north of the bedroom, we converted the area surrounding an existing concrete column into a study and coat closet.  © Jessie Webster  Loft Floor Plan  © Jessie Webster Against the industrial backdrop of the existing concrete floor and exposed structural concrete of the ceiling are inviting, modern interiors. We worked with an assortment of woods, textures, and metal finishes to visually warm and soften the space.  © Jessie Webster A color palette of primarily warm gray tones and black complement the gray herringbone pattern oak floor and bold black custom casework built by our wood shop. The result is a comfortable home well-suited for entertaining – simple yet sophisticated.  © Jessie Webster  This posting includes an audio/video/photo media file: Download Now |
| Participate in the Observatory of the 11th São Paulo Architecture Biennial Posted: 23 Aug 2017 05:15 AM PDT
The Observatory of the 11th São Paulo Architecture Biennial aims to map, articulate and democratize instruments that provoke discussions, propose the editing and transformation of the city. It acknowledges punctual actions that, while placed in different circumstances, point out strategic matters to rethink the contemporary metropolis. The selected works are organized as individual files and include formats such as photo essays, guides of use and exploration of the city, manuals for the transformation and local action, investigation work, among many other formats. Besides the research carried out at the Studio of the Biennial (currently counting with more than 500 initiatives compiled), other references will be added up based on the work received in the Open Calls. Through this initiative, the Biennial will leave a legacy to the city, collectivizing the access and opening the debate about an array of initiatives that target the urban transformation. Participate on this large, global archive and send your project or initiative in our Open Calls. Participate in the two international open calls of the Architecture Biennial: Two of the four open calls are open to international participants and all of them will accept proposals in English, Spanish and Portuguese. Faculties of Architecture and Urban Studies Urban Architecture  This posting includes an audio/video/photo media file: Download Now |
| Mecanoo Selected to Transform Perth City Hall in Scotland into New Cultural Center Posted: 23 Aug 2017 05:00 AM PDT  Main Space. Image © Mecanoo Architecten Mecanoo has been selected to design the renovation of the historically landmarked Perth City Hall in Scotland, transforming the building into a new cultural facility through a series of sensitive interventions and a reimagined space flow. Envisioned as a new gateway to Perth, the scheme will pull from the city's history and culture to create a place that is accessible to all.  Cafe. Image © Mecanoo Architecten "Mecanoo stood out as having responded sensitively to the brief, conserving much of the historic building with an innovative and flexible design that will stand the test of time," said Councillor Ian Campbell, Leader of the Perth & Kinross Council. "The panel felt that Mecanoo paid particular attention to the needs of a wide range of visitors and the transformation of the area surrounding City Hall into a vibrant, inclusive civic space of which we can be truly proud." The design adds large glazed surfaces to all four elevations and levels the surface surrounding the building to increase transparency and welcome in passers-by. Inside, visitors can navigate between exhibition spaces, a learning center, cafe and retail store, located around the signature barrel vaulted main hall. Within the main hall itself, a central volume has been inserted to exhibit Perth & Kinross Council's permanent and temporary collections.  Aerial View. Image © Mecanoo Architecten  © <a href='http://https://www.flickr.com/photos/ninian_reid/21767259146/in/photolist-zauTMu-9Qs2tp-d4Fmpy-d4FjcL-9QuQJd-d4FhDW-d4EZ17-9QuQSY-ed34J3-X1CA4S-9QuR9W-9Qs2cc-s8snXL-9QuRbQ-d4F2GU-9QuQFU-9QuQVd-fDW28n-s8reEJ-T1PJh7-cosyCC-hhAoPj-9Qs2re-9QuQEf-9QuQXb-8CKAqT-pdAt2S-fSbRmh-UezWwG-VZMpkq-pdAyV5-fDVZ3Z-rtdLsp-puNBvX-pwCro4-pb5sgT-X1CB61-d4FaXj-d4EWLY-d4F54A-cosBk1-d4F7Do-9JmUh1-nFzoL3-9pYwWY-yuQxQ-v5M5eB-cotc3w-brazGr-d4FeJ3'>Flickr user ninian_reid</a>. Licensed under CC BY 2.0. ImagePerth City Hall today Outside, a new seating area will rejuvenate the public space between city hall and the adjacent St John's Kirk, while a strategic lighting scheme will connect the building back into the urban fabric. "We're delighted to have been appointed for this prestigious project," Francine Houben, Founding Architect and Creative Director of Mecanoo. "We look forward to working together with the local community and Perth and Kinross Council to create an exciting new cultural destination for Perth."  Learning Center. Image © Mecanoo Architecten Perth City Hall joins a number of sensitive yet impactful renovation projects by Mecanoo currently in progress, including the Mies van der Rohe-designed Martin Luther King Jr. Memorial Library in Washington, DC, the Het Hof van Nederland heritage museum in Dordrecht, and the New York Public Library's Stephen A. Schwarzman Building in Manhattan. To see more of the project, check out the VR walkthrough of the Perth City Hall renovation, here. News via Mecanoo  This posting includes an audio/video/photo media file: Download Now |
| Playster Headquarters / ACDF Architecture Posted: 23 Aug 2017 04:00 AM PDT  © Adrien Williams
 © Adrien Williams From the architect. Playster is a young and fast-growing company that provides a global subscription-based entertainment service, with offices in New York and Los Angeles. ACDF Architecture was commissioned to design its headquarters on Peel Street in downtown Montreal.  © Adrien Williams Making the most out of the original setting – a 1980s-built office tower - the architects used the existing walls to create a variety of vibrant private spaces, thus saving resources and money. To give their clients an environment suited to the company's high energy and creativity, the architects developed a contemporary, open concept design highlighted by a clever play of bright colors and white surfaces.  © Adrien Williams The architects proposed an exciting chromatic pattern that reinvents the 18,000-square-foot space. Reminiscent of the company's logo, blocks of color saturate the walls and carpets to create a strong visual impact and demarcate different zones in a fluid progression.  Floor Plan The colors encourage team gatherings in the open space and stimulate a sense of belonging among the employees as each team has its own color. ACDF's flexible, open-plan workspace design adapts to small-group work sessions as well as a large collaborative and creative atmosphere.  © Adrien Williams A white corridor balances the strong identity of the colorful areas. It acts as a spine, connecting meeting rooms and links the bright sections to one another, and functions as a place of respite from the lively vibe of the offices. White vinyl panels in the corridor define several breakout areas where employees can have a chat and rest from their busy schedules. Playster now enjoys flexible and stimulating offices, where creative work emerges from fruitful social interactions.  © Adrien Williams  This posting includes an audio/video/photo media file: Download Now |
| Posted: 23 Aug 2017 02:30 AM PDT  Image <a href='https://commons.wikimedia.org/wiki/File:Jane_Jacobs.jpg'>via Wikimedia</a>, photograph by Phil Stanziola (Public Domain) This article was originally published by Common Edge as "10 Lessons Learned by Rereading Jane Jacobs." Last week I was in the middle of packing and came across a well-thumbed copy of The Death and Life of Great American Cities. I don't remember when I read the book, but it was way more than twenty years ago (and predates my professional involvement with cities). As a very belated tribute to the anniversary of her 100th birthday, I decided to dip back into that remarkable book. Here's ten takeaways from the godmother of the American city. 1. The mythical "ballet of the streets" motif is a tiny portion of the book.That section, which occurs early on, is electric. It's like an early John Cheever story. But the rest of Death and Life is a dense, meticulously constructed attack on the city planning orthodoxies of the day. Today it reads as a sort of literary polemic, fused with an urban planning and economics manual for cities. No wonder everybody's head exploded in 1961. 2. Having said that: Jane's magic world of Hudson Street feels as distant as Colonial Williamsburg.It's a Lost World. Her famous house at 555 Hudson Street sold in 2009 for the "bargain price" of $3.5-million. 3. Jacobs was remarkably prescient on gentrification.She didn't invent the term or even use it. But she observed (and I don't know how, since most cities were in decline at the time) that lively diverse neighborhoods are always at risk for becoming victims of their own success, because newcomers invariably alter the characteristics that made these neighborhoods appealing to them in the first place. Today this seems obvious and self-evident, but that's largely because of Jane Jacobs. 4. Jacobs won the battle of Ideas, but countervailing forces, including suburbia, won the war on the ground.The conventional wisdom is that Jacobs ultimately prevailed. But did she really? Locally, she defeated Robert Moses, no doubt, but America sprawled and suburbanized for a half century, pretty much unimpeded, and many of the urban planning ideas that she so soundly debunked have had a Zombie-like resilience. Jacobs created a durable moral compass. Shamefully, it's a best practices handbook that developers, especially, feel free to cite and then ignore when it suits them. 5. Jacobs-style urbanism (diversity of uses, scales, buildings, people) may be impossible to achieve with current development models.New urban neighborhoods—even ones that at least attempt to adhere to her principles—often feel cold and sterile. They just can't replicate the intricate web of relationships that Jacobs celebrated. These develop over time and at multiple scales, even small ones. It's precisely these smaller scales, in fact, that give our best neighborhoods soul; unfortunately, when you're building new, the haberdasher and the dry cleaner don't pencil out economically. 6. Everyone, neighborhood activists and developers alike, cherry picks her ideas.Many of her ideas were abused, like standard songs that have been covered (far too often) by inferior artists. It's precisely why developers and activists who constantly evoke her should occasionally re-read her. 7. While the book's lessons are indeed timeless, the examples she uses to illustrate them are now historic.Truth be told, the examples—if you're a native New Yorker of a certain age—border on the nostalgic. (The Italian butcher. The experimental theater. The candy store!) It makes reading the book in 2016 both fascinating and a bit rueful. 8. She was amazingly on-point about the effect of cars on cities.Her remedy—what she called "car attrition" (making it more difficult for cars to operate in cities, rather than outright banning them)—predates the work of Jan Gehl and ideas like congestion pricing by several decades. 9. Despite what NIMBY-ists would like to believe, Jacobs was not anti big buildings.She was against large, stand-alone, single-use buildings. Big buildings, surrounded by other structures of different sizes, scales and uses, were perfectly OK (even dreaded sports arenas). 10. Although it's a fun parlor game for urban geeks, no one really knows which projects Jane Jacobs would have "approved" of.But here's a safe bet for what she would have surely opposed: anything that involved the use of eminent domain. Martin C. Pedersen is executive director of the Common Edge Collaborative. A writer, editor and critic, he served as executive editor at Metropolis magazine for nearly fifteen years.  This posting includes an audio/video/photo media file: Download Now |
| Boathouse / Cibinel Architecture Posted: 23 Aug 2017 02:05 AM PDT  © Jerry Grajewski
 © Jerry Grajewski From the architect. Nestled within a rocky shoreline, The Boathouse is designed for day and night time lounging and entertainment. It is situated at the edge of a densely forested north facing slope with dramatic cliff faces. In addition to needing boat parking and year-round storage, the client wanted a space that captured a full day's sunlight as well as the northeastern views over the water.  © Jerry Grajewski  Floor Plans  © Jerry Grajewski The resulting design is playfully expressed through vertical and horizontal planes constructed of steel and finished in wood. Flanked on the east and west by cantilevers that evoke the sleekness of watercraft, The Boathouse celebrates the experience of arrival as visitors steer their boats in. Half sheltered and complete with a sliding mosquito curtain, the upper deck is the focal point of social gathering and lake-life lounging where the great outdoors can be fully enjoyed.  © Jerry Grajewski  This posting includes an audio/video/photo media file: Download Now |
| Norman Foster Is 82 And He Instagrams Better Than You Do Posted: 23 Aug 2017 01:00 AM PDT Norman Foster only began to casually upload photos to Instagram earlier this year. But don't be fooled by his short tenure on the seven-year-old social media platform. At the ripe old age of 82, the British architect has demonstrated that his talents go far beyond designing buildings. What makes Norman Foster's Instagram feed more charming than Bjarke Ingels', or more impressive that Richard Branson's, is a complex mix of je ne sais quoi, athletic prowess, and a taste of the "he's just like us!" Architects love that the photos provide behind-the-scenes insight into the life of one of the most prolific and revered professionals of our time. Behind the accolades and behind the Barony, we discover a man swimming, biking, rowing, and helicoptering his way into his eighth decade. It's reassuring to see that an architect who has always sought to stand at the vanguard of the innovative and the bold doesn't show signs of letting up anytime soon. Lord Foster's Instagram posts show us positive, human endeavors that we should respect as a profession: spending time with family, taking a vacation, and, most importantly, enjoying his work as an architect – a creative passion, or way of living, that permeates everything we do. If we are indeed moving beyond the age of "cults of personality" cultivated by the media, it's fascinating to see that Norman Foster is taking full advantage of the one-to-one relationship between public figure and the public by openly showing us what he enjoys, treasures, and strives to achieve.  This posting includes an audio/video/photo media file: Download Now |
| Álvaro Siza and Others Imagine Possible Scenarios for a Reconstructed Syria Posted: 23 Aug 2017 12:00 AM PDT Sketch for Syria, a project initiated by by Marco Ballarin and Jacopo Galli at IUAV, Venice, has brought together 150 architects from 26 nations in a large-scale effort to "imagine, trace and share possible scenarios" for Syria, following the recent devastation of the lives of its citizens and a significant amount of its architectural heritage. In response to the United Nations' (UN-ESCWA) drafting of an agenda on July 14th, 2016 to consider ways of reconstructing the country, this drawing project has attracted contributions from the likes of Álvaro Siza, Philippe Rahm, Peter Wilson, and Francisco Aires Mateus.  Exhibition (Venice, Italy). Image © Sketch for Syria 52 sketchbooks came directly from Syrian cities: Damascus, Aleppo, Hama, Latakia and Tartus "showing," according to the organizers, the "peaceful strength of architecture."  Exhibition (Venice, Italy). Image © Sketch for Syria
 Exhibition (Venice, Italy). Image © Sketch for Syria Salma Samar Damluji / Lebanon Salma Samar Damluji / Lebanon. Image © Sketch for Syria Beals and Lyon / Chile Beals and Lyon / Chile. Image © Sketch for Syria Paredes y Pedrosa / Spain Paredes y Pedrosa / Spain. Image © Sketch for Syria Francisco Aires Mateus / Portugal Francisco Aires Mateus / Portugal. Image © Sketch for Syria Kinda Ghannoum & Maya Ghannoum / Syria Kinda Ghannoum / Syria. Image © Sketch for Syria Álvaro Siza / Portugal Alvaro Siza / Portugal. Image © Sketch for Syria Marco Ferrari / Italy Marco Ferrari / Italy. Image © Sketch for Syria Loopo Studio / Greece Loopo Studio / Greece. Image © Sketch for Syria Peter Wilson / Germany Peter Wilson / Germany. Image © Sketch for Syria Benno Albrecht / Italy Benno Albrecht / Italy. Image © Sketch for Syria Ahmed Al Sahli / Syria Ahmed Al Sahli / Syria. Image © Sketch for Syria Philippe Rahm / France Philippe Rahm / France. Image © Sketch for Syria Sean Godsell / Australia Sean Godsell / Australia. Image © Sketch for Syria Participants: A12 Associati, Ace-Dam, Samer Adeeb, Abdulrahman Adi, Rose Ahmad, Hazar Ahmd, Francisco Aires Mateus, Manuel Aires Mateus, Al Borde Arquitectos, Moumena Albarazi, Benno Albrecht, Hanin Alhalak, Mustafa Alhamwy, Ahed Alkhatib, Zaki Rabia Alkhatib, Diala Alkhoury, Tala Alshami, Roaa Alturek, Massimo Alvisi, Abdalla Asaad, Felipe Assadi, Hala Asslan, Yehya Al Aswad, Fadi Attoura, Aldo Aymonino, B22, Babau Bureau, Steve Baer, Ricardo Bak Gordon, Nourhan Al Bakkour, Roland Baldi, Nicola Barbugian, Lamira Al Baroudi, Fabrizio Barozzi, Alia Bassioni, Alejandro Beals, Paolo Belardi, Gaetano Bertolazzi, Federico Buonincontro, Ciro Cirillo, Serena Cominelli, Diana Corbaci, Roberto Corradini, Javier Corval·n, Raffaele Cutillo, Fares Dahabi, Silvia Dainese, Alessandro Dal Corso, Armando Dal Fabbro, Salma Samar Damluji, Brunetto De Batte - Giovanna Santinolli, Lana Diab, Mariam Doghouz, Fernando Dowling, Elton_Leniz Arquitectos, Huda Hamal Ennabeh, Antonio Esposito, Alberto Ferlenga, Marco Ferrari, Emanuele Fidone, Fosbury Architecture, Cherubino Gambardella, Fabrizio Gay, Muhammad Ghanem, Kinda, Maya, Nadine Ghannoum, Abd Al Ghany, Simone Gheduzzi, Sean Godsell, Leonard Grosch, Moukhles Al Hafez, Mouhannad Hatem, Adam Hatvani, Mohamed Haya, Mohamad Al Henawi, Alfarhattian Houzzam, Gianluca Iannotta, Amer Al Issa, Rebal Jaber, Rama Jber, Rneem Jber, Kristen Jubran, Rim Kalsoum, Victoria Kassar, Driss Kettani, Alaa Al Khatib, La Macchina Studio, Labics, Vincenzo Latina, Jose Ignacio Linazasoro, Jorge Lobos, Loopo Studio, Riccardo Lopes, Jose Lorenzo-Torres, Kevin Mark Low, Guilherme Machado Vaz, Chiara & Carlo Magnani, Shaza Al Manakly, Davide Marazzi, Patrizio Martinelli, Haya Massimi, Giancarlo Mazzanti, Ettore Maria Mazzola, Antonio Monestiroli, Mohamed Al Mufti, Samira Muhammed - Samer Al Baroudi, Abdulkarim Mustafa, Ghiath Obaidy, Piercarlo Palmarini, Morpho Papanikolaou + Beetroot, Angela Paredes - Ignacio Pedrosa, Sergio Pascolo, Marco Provinciali, Philippe Rahm, Aahed Annasser Rajjoub, Yamen Ranjous, Abd Al Raouf Al Hamwi, David Raponi, Abdal Razak Dawalibi, Massimiliano Rendina, Kinga Rusin, Gretta Saied, Ahmed Al Salhi, Abdallah Samo, Philippe Samyn, Dania Saoud, Kinda Sati, Ziad Shahet, Hazem Shahrour, Hala Al Shimali, Samia Shkair, Reem Shahadeh, Alvaro Siza, Souheil Sleiman, Carin Smuts, Southcorner, Studio Albori, Nourhan Sundouk, Jrgen Bech Taxholm, Carlo Terpolilli, Alessandro Tessari, Anas Tmraz, Emilio Tunon Alvarez, Davide Vargas, Riyad Al Wadi, Mohammad Fares Whby, Peter Wilson, Mohammed Zanboua, Samar Waleed Zaydan, Samir Abu Zeina.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 22 Aug 2017 11:00 PM PDT  © Picture Plane Designed by London and Liverpool based practice shedkm, construction is underway on Circus Street, an exemplary urban design for a mixed-use innovation quarter in Brighton that aims to celebrate the diverse architectural styles and individuals that populate the city. Working with regeneration developers U+I, shedkm's masterplan works with an existing abandoned fruit and vegetable market to create "a strong sense of place, distinct yet in tune with the unique city of Brighton and its people."
 © Picture Plane Combining a mix of buildings and public spaces, the masterplan's location on Circus Street marks the edge of Brighton's academic district, with the disused produce market planned to be replaced with residential, recreational and retail opportunities. Plans include 142 new residences, 450 student rooms, an international 'Dance Space' and approximately 300,000 square feet dedicated to businesses and start-ups, all to create new economic and creative opportunities for the city.
To enhance a sense of urban rather than a suburban scale, while avoiding 'mega-block' massing, individual buildings will range in height from 6 to 8 stories, with a select number rising to 13 stories, acting as markers within the site. Referencing pre-existing historic street patterns, pedestrian routes will intersect the development. The northwest area of the site will accommodate the new residences, while student accommodation situated along the eastern edge. Acting as 'legibility landmarks", a 10 stories residential building and 13 stories student residence will mark the corners of their respective areas.  © Picture Plane The "jewel of the masterplan" is South East Dance's Dance Space, located between townhouses and a new office building, as part of the new Circus Square that forms the main public space at the heart of the design. The square is intended to host large events, functioning alongside the working gardens and orchards along Carlton Row, designed by JLG landscape architects. At the public level, shops and retail spots, restaurants and workshop spaces will facilitate a sense of community.
In terms of materiality, Circus Street draws from neighboring buildings to maintain a consistent material language across the site. Specific materials include a black cladding for townhouses, white brick for offices, red brick for student accommodations and galvanized metal cladding for the Dance Space, all of which can be seen from the Circus Square events space. Having won a competition for the masterplan in 2012, shedkm obtained planning permission in September 2014. Circus Street is expected to be complete by Spring 2020. News via: shedkm.
 This posting includes an audio/video/photo media file: Download Now |
| You are subscribed to email updates from ArchDaily. To stop receiving these emails, you may unsubscribe now. | Email delivery powered by Google |
| Google Inc., 1600 Amphitheatre Parkway, Mountain View, CA 94043, United States | |
%E5%B1%8B%E6%A0%B9%E3%81%A8%E7%9F%A9%E5%BD%A2_Sasaki7.jpg?1503447635){kind=link}
.jpg?1503486224){kind=link}
Nema komentara:
Objavi komentar