Arch Daily |
- DD16 / BIO-architects
- Bedales School of Art and Design / Feilden Clegg Bradley Studios
- Buikberglos / m u r m u u r Architecten
- Peterhof Lakes Course Golf Club / Arch Group
- Landscape Design of Suzhou Vanke Great Lake Park / LANDAU international design
- Naranga Avenue House / James Russell Architect
- 85 Coffee House / 85 Design
- Dark Horse / Architecture Architecture
- 16 Achievement Stickers To Motivate Freelance Architects
- DANA Restaurant / Arquitetura Nacional
- Tadao Ando Envelops Giant Buddha Statue in Lavender-Planted Hill Temple
- Earth House / earthLAB Studio
- Flythrough Video of Eric Owen Moss Architects' (W)rapper Revealed as Construction is Set to Begin
- Lugo's Public Market Renovation / OLAestudio + MERCASA
- This Street Art Foundation Is Transforming India's Urban Landscape—With the Government's Support
- Chios Mastic Museum / KIZIS STUDIO
- Humanscale's Ergonomic Design Templates Are the Ultimate Architect's Tool
- Spotlight: Kengo Kuma
- Combatentes House / spaceworkers
| Posted: 08 Aug 2017 10:00 PM PDT  © Vlad Mitrichev
 © Ivan Ovchinnikov From the architect. DD16 is a prototype of a modular compact house that was made for installation in remote places and extreme conditions. The house consists of 2 modules that are made at the factory.  © Vlad Mitrichev The prototype was designed and made as a tourist equipment where the weight of every detail is taken into account so it can be used in very harsh conditions. All the constructive elements were subject to change as well as the interior finishing compared to the regular houses. The frame is made of laminated wood with milled ports.  © Vlad Mitrichev The ports helped to decrease the weight and cold bridges and gaps. Polyurethane foam is used as an insulation, the rigidity of which helped to decrease the weight of inner finishing materials. The exterior finishing is made of composite aluminum sheets which allowed to make a seamless surface from the top to bottom. This is a lightweight material that is resistant to the environment. The same material gets used as a kitchen facade.  © Vlad Mitrichev The internal space shows all the potential of compact buildings while saving all the comfortableness. There is a bathroom with the shower, double bed, dining table and some free space where the wood stove can be installed. Due to large glazing and the great amount of light, the space inside visually increases. The same principles are used in furnishing - rigidity, weight reduction and maximum use of space. Hidden niches are used for storage. Some furniture can be transformed or folded.  © Ivan Ovchinnikov The plan is to test the house in different condition. In November 2016 the house was installed at the lake using pontoons. Modular pontoons are made together with the frame that can be dissembled so it can be transported inside the house and set on water.  Floor Plan Beam releases allow attaching the house to the crane or helicopter so all the rigging work can be done easily by one person in any weather conditions. The autonomous systems are used in the house - solar power for electricity, water from the lake and bio toilet. The construction can be easily adapted for other conditions. The house now is being tested in a rent out format under the DublDomClub aegis. This allows to have some feedback from different people and test the house as it is intensely used by the great number of customers. it is an uncommon experience for our visitors to swim on a boat and spend a day in a compact floating house. The house is located close to Moscow but due to the glazed facade that is facing the wood, it feels like you are on a wild river somewhere in the forest thicket. The wind turns the house to the different sides and the picture outside changes all the time.  © Vlad Mitrichev  This posting includes an audio/video/photo media file: Download Now |
| Bedales School of Art and Design / Feilden Clegg Bradley Studios Posted: 08 Aug 2017 08:00 PM PDT  © Hufton + Crow
 © Hufton + Crow From the architect. Bedales School is set in an area of outstanding natural beauty on the edge of the South Downs National Park in the village of Steep near Petersfield. Constructed around a substantial and beautiful oak tree within a new court and central lawn the new Art and Design building has a strong sense of place.  Ground Floor Plan The design of the building draws references from traditional agricultural buildings with clipped gables and simple standing-seam metal roofs, defining a series of connected barn forms. Materials were used in their natural state throughout a lattice timber screen shelters the entrance canopy and external walkway creating a welcoming gesture on approach to the building.  © Hufton + Crow The layout on the upper floor is a series of carefully scaled open and interconnected north-lit art studios that enable teaching and independent study for a wide range of group sizes and activities. On the ground floor heavier duty craft-based design subjects are taught alongside jewelry and fashion design.  Sections A connection to the outdoors characterizes much of Bedales life, and consequently, all circulation is external, across covered decks on both sides of the building that double as places to draw, paint, sculpt or just relax and contemplate the environment.  © Hufton + Crow SUSTAINABILITY  © Hufton + Crow The form and east-west orientation of the five pitched roofs of the new Art and Design building define a series of carefully scaled, north-lit studio spaces within. This maximizes natural daylighting and reduces the need for artificial lighting.  © Hufton + Crow In what is otherwise a lightweight building the thermal mass of exposed concrete surfaces contributes to a more stable internal temperature. Timber-slatted screens and the retained large oak tree both provide solar shading in the summer months. Renewable natural materials, including sustainably sourced timber for cladding and wood fiber acoustic panels, reduce the embodied carbon in the construction.  © Hufton + Crow CONTEXT  © Hufton + Crow  This posting includes an audio/video/photo media file: Download Now |
| Buikberglos / m u r m u u r Architecten Posted: 08 Aug 2017 07:00 PM PDT  © Thomas Min
 © Thomas Min From the architect. We have built a holiday home in CLT-pannels, nestled within the hilly landscape of the Flemish Ardennes. We have clad the façade in black clay panelling above a light green tiled skirting board. Plants can grow close to these walls. We place the volume carefully between the mature trees in the old garden, and fold the façade along lines of sight and orientation.  © Thomas Min  Floor Plan  © Thomas Min The bedrooms lay a few steps lower, the roof follows this movement so that it looks as if the house has been shifted in the relief of the site. The layout of the living space is open and offers diagonal lines of sight through the open corners. The windows make niches of wood were one can sit and look outside. A covered terrace welcomes visitors at the front at the south east. There is an open hearth here for cold evenings.  © Thomas Min  This posting includes an audio/video/photo media file: Download Now |
| Peterhof Lakes Course Golf Club / Arch Group Posted: 08 Aug 2017 05:00 PM PDT  © Aleksei Goriainov
 © Aleksei Goriainov From the architect. The building where team accommodations, changing rooms and office premises are located, were designed for the Golf Club.  © Aleksei Goriainov The Golf Club is located at an absolutely unique place, close to Peterhof, just opposite the Mikhailovka manor house. The Club's territory is surrounded by astonishing landscapes and monuments of architecture. The Club's building is not massive, but it incarnates the general idea and the style of the Club to the full. We offered the stylistic direction that emphasises contrast between historic styles of the surrounding and contemporary pseudoclassic architecture of buildings. We were intended to highlight the idea that the Club is totally modern and focused on active people. At the same time it should be in harmony with the surrounding idyllic landscape. Our goal was to create temperate and austere image that was intended to be expressive at the same time.  © Aleksei Goriainov This idea gave rise to several basic principles:
 © Aleksei Goriainov The Golf Club's building and monuments of architecture are far-off from each other and all of them cannot be seen at the same time. No doubt that the Club's visitors feel the special atmosphere of this place. That is why the principle of contrast works as it should do. Dark minimalistic glass volume perfectly matches the smooth landscape and looks steadily and austere.  Scheme The part of the building that overlooks the golf course is made of glass including the roof. It allows enjoying panoramic views and helps to create the effect of maximal interaction with the landscape. When we enter the building, visually we are still on the course. The building comprises the reception desk and lounge with seating areas. Blank and glass parts of the building are connected along the ridge of a roof, in its highest part. We cut the top of the blank wall at an angle because we wanted to avoid high blank wall in the interior and were intended to create expressive design element. This technique allowed forming its own landscape inside of the building that produces eye-catching effect in dark time when local lights are on. At the same time it gave us the possibility to use more glass elements and intensify the effect of interaction with the surrounding landscape.  © Aleksei Goriainov The building is obviously lowered from the back façade. It helps to reduce visually the blank part of the walls. The roof is low-sloped in the direction of glass part of the building.  Floor Plan Tinted glass and polished black granite were used to add more integrity to the volume of the building. The same goal is achieved by using the black granite in the roof's cladding and by the absence of eaves on the edges of the building  © Aleksei Goriainov  This posting includes an audio/video/photo media file: Download Now |
| Landscape Design of Suzhou Vanke Great Lake Park / LANDAU international design Posted: 08 Aug 2017 03:00 PM PDT  © ARCH-EXIST
 © ARCH-EXIST Close to nature (site survey) Perhaps as a landscape man, a more sense of reverence for nature, want to be closer to nature. When the initial survey site, it was surrounded by the natural deep, calm lake, rolling hills, fog stretches, everything is so fusion, like a blanket in the shape of the landscape painting, to the heart of a calm. Landscape is a place to place emotions, regional design is the fundamental, how to the venue and the atmosphere of the atmosphere fully demonstrated to become a difficult, natural interpretation of the language with a modern out. At this time thought, Suzhou garden, think of IM Pei's Suzhou Museum, which is the best interpretation of the small venues through the garden approach, through the leakage, borrow, hidden design techniques to borrow the background , The space hidden, leakage of natural style. In consideration of the scale, color, material how to coordinate with the environment, the designer "deep plowing" for a long time.  © ARCH-EXIST In the Kunqu opera, "Mirror Flower Moonlight Dream" gave me the inspiration of design, how to combine the surrounding environment with the surrounding environment, like a mirror, or a show field, show all the good things. Water can reflect the blue sky Of Taihu Lake, the glass can be mapped to the mountains and rivers of Taihu Lake, pink walls can be printed with light and shadow.  © ARCH-EXIST With landscape tell the story (the design process) Some people say that good scenery is grown from the ground, the integration in nature. The creation of space as wine, in the design of the Great Lakes Park, many stories together with the landscape slowly brewed out. In the construction of the square, the space was slowly built out, like a "mirror in the month, the water flower" dream. This site has a special atmosphere, a lot of people have a common feeling after, one to there, whether adults or children, the whole people are quiet down. Park Lake quiet and the hustle and bustle of the red has become a sharp contrast, which is Taihu Lake to bring people feel, away from the hustle and bustle of the city, into a quiet nature, which is a place of spirit. This place has a special thing, not just concrete, brick, stone, where obviously feel even the air, the clouds are not the same. Water features, corridors, stone scene ... with the exact expression. Lake Taihu Lake when the sky, the lake and the landscape of the lake into the water, the wind and shaking water and shaking, the ripples in the water with the meticulous, standing with the next tree also shook, the wind with the branches swaying the sound swaying Water and light.  © ARCH-EXIST Interpretation of life show field (final presentation) The park is filled with a restrained and quiet posture. Designers use the pink wall, the door of the traditional garden of the context, the use of landscape and corridor fusion expression of the current ideology. The continuous white corridors constitute the original form of space, with the traditional Suzhou garden order beauty. Facade of the wall through the artistic creation of the sensory sense of texture, but also through the orderly division of light and shadow into the space, giving space-rich level and change, the formation of an elegant and Smart movement.  Render 4.2 meters high corridor space, the vertical scale of the space will be a perfect sense of linear expression. The semi-permeable U-glass defines the space, permeating the light and the space, and portraying the language of the linear light as a carrier. 2.4 meters wide trail, the use of water stains like the ground stone with a mountain-shaped water potential texture, and the facade of the plain wall of mutual integration. In the border using a light facade grille, resulting in the continuation of space, the grid of the shadow derived to the far end, resulting in a sense of continuity of space.  © ARCH-EXIST The first into the space of the light is soft, it is not carved. Natural light pouring to the whole site, the wall, green plant through the time of change, sketched out a hazy light show field.  © ARCH-EXIST The second into the space of the white corridors and black gravel composition of the ground to form a larger contrast, like the drama of the flowers and clown to the so strong, and green cultivation to reconcile the middle of the contrast, light has become a musical symbol, In series with the entire space, and through the changes in time, the interpretation of a different melody.  © ARCH-EXIST The binary space and the three-in space are interconnected in a dramatic way. Into the third space, the corridor to define the boundaries of the entire venue, clear and simple, light through the U glass, the surrounding green into them.  © ARCH-EXIST Mirror of the water landscape extends to the end of the white marble with the mountains and rivers linked together, like the water in the pool to heaven. Ink rhyme in the blank, white outside. Very clean wall corresponds to the door rest area, cherry forest under the rest area combined with light outside the pendulum, in the space to achieve a balance in the forest peep under the light and shadow concerto.  © ARCH-EXIST Entrance from the entrance, the overall facade to the white interface of the continuation of the continuation of layers of white, black and hazy twilight in the blur of the corridor and natural boundaries. Space vaguely capture the shadow of the East, but also like landscape painting, will be brought into the remodeling of modernity. Light and shadow of the sequence and white space integration and nature, it seems to re-interpretation of the traditional garden.  © ARCH-EXIST White entrance porch, across the bright and dark, vigorous welcoming lofty and entrance side, a trace of green stuck, you can peep into one corner, this is like a prelude to the show, bring a Kind of trance and beautiful feeling.  © ARCH-EXIST Concrete, stone, paint, U glass, metal ... ... these expression space carrier, multi-level attached to it, the flow of air and light wavelength rendering space, considerable tour, custom art home so that space is vivid and interesting, Geometric point and line, the balance of the relationship between the form of tension and natural calm fit.The space has a clear order and symmetry, the line of sight through the guidance and implied, through the possession and through, hidden and significant, in this rich sense of interpretation of the space interlocking, feel in the variation of the flow of the Soviet style artistically.  © ARCH-EXIST Design stage drawings We hope to continue the modernization of the regional culture texture, reflecting the infiltration of park-style, close contact with the natural way of life. To create a ecological, humanistic, quality of the project image. We think that the landscape is closest to the product of nature, it is a gentle carrier, coordination and balance of human activities and natural space law, and landscape design layout, color and language, should be from the plot itself, the overall environment Factors, common growth, in order to interpret a reasonable living language.  Site Plan  This posting includes an audio/video/photo media file: Download Now |
| Naranga Avenue House / James Russell Architect Posted: 08 Aug 2017 01:00 PM PDT  © Toby Scott
 © Toby Scott From the architect. Florida Gardens, a 60's canal estate with leathery swinging grandmas and breezeblock houses. What a great context... We wanted to play with breezeblocks, a material that has its place here, but breezeblocks are expensive and need to be painted for protection from the corrosive coastal air.  © Toby Scott We used extruded clay bricks on edge, showing the ugly holes. Extruded brick is inexpensive, low embodied energy and doesn't require applied finishes to protect it. The material, clay, can be expressed and enjoyed.  Ground Floor Fixed to expressed hardwood framing we make our screen. Sun becomes a dappled light, breeze moves through, rain becomes mist, daily rituals can happen in privacy but with views or awareness of your surrounds and it is secure.  © Toby Scott Garden is of course, inside, a hole from earth to sky. A place to arrive (transition), move through and around, to look through or talk across, it connects levels and places you in conversation with country. The house is a small village between forest and pool.  Section Houses must sit on the street. Gathering and meals look back to street in conversation. There is a connection with the larger neighborhood. Cars are secondary and never a barrier to this relationship.  © Toby Scott This place becomes part of the neighbouring family, though more generous with forest to street. A place that is similar to its neighbours but with a finer grain or detail and more ambiguous about inside and out.  © Toby Scott I drove my tinny from Currigee at South Straddie to meet James and Lauren for the first time. I was looking scruffy and didn't expect to hear from them again but this was a perfect way to start discussions about living on the coast. Discussions around a place that is refined, provides protection from adverse weather, a shell or screen that protects and allows you to enjoy this country.  © Toby Scott James and Lauren became owner builders for this project, not only reduce costs, but to try their hand at building like many young families have done before. Tight budget is a driver of innovation, making with minimal material, put together in ways to achieve a particular porosity or quality of space.  Upper Floor Collaboration was key with this project. Josh the engineer helped us make our modular timber frame & skin work with minimal steel. James and Lauren sourced timber from a family timber mill and Eve from Austral Bricks help in finding a beautiful clay brick.  © Toby Scott Lauren, James and kids engage with the benign climate as part of daily rituals... making of food happens beside the flowering Crepe Myrtle, dappled sunlight moving across your body while having a morning coffee, summer breeze passes the fine brick screen across your veiled, naked body as you lay in bed. The building breathes.  © Toby Scott There is a village within this filter. Place for a large extended family much of the time, and retreat when required. Layering of a little village, connection to country and diverse social possibilities with movement beyond to the forest or pool.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 08 Aug 2017 12:00 PM PDT  © To Huu Dung
 © To Huu Dung From the architect. I received the request for the house design in early 2017. This land is located on a small street in the center of Da Nang city, Vietnam. The land area is 120m2, in which, the front side is just over 4m and the back side is very narrow, just 3.5m. However, its length is very great, up to 33m. What a bad land! The Employer requested me to design this house to ensure the following factors:
 © To Huu Dung After the field survey, I quickly got the suitable idea to meet all the above requirements. My plan is based on the idea of three pots of trees that are planted straightly along vertical line of the land. In the space among these pots, the wells are established to welcome the sun and wind, which makes the house airy and cool. I mainly use raw materials such as handmade bricks, granite, green trees, which bring a feeling of closeness to the nature. In addition, due to the house's narrowness, I use a lot of glass walls and glass doors so that more light and wind can go into the house. One more special thing is that the TV shelf and desk of this house is made from pieces of removed wood and they look pretty good. The whole house is divided into 3 areas:  First Floor Plan  Second Floor Plan  Roof Plan The 1st floor: Space for café business: including bar, kitchen and blending area. I use the folding sliding doors, lots of trees and fish ponds to create a completely open space. Furthermore, for the decreased hardness of the material, I used white curtain to create softness for space.  © To Huu Dung The 2nd Floor: Living Space: Including the living room, kitchen in the middle and bedrooms arranged in the front and behind. The two bedrooms are connected to the living room and kitchen by the bridge corridor made of glass. The light, wind and trees can be seen in all the rooms.  © To Huu Dung Roof floor: I use 3 types of Vietnamese fruit trees planted in concrete tanks to protect the roof from heat and create cool, green spaces and accordingly, this area could be used for coffee business or playing activities of the family.  © To Huu Dung After the completion of the project, I received appreciation for the spatial solution and the aesthetics of the house. The Employer was very pleased with this project and so am I.  This posting includes an audio/video/photo media file: Download Now |
| Dark Horse / Architecture Architecture Posted: 08 Aug 2017 10:00 AM PDT  © Peter Bennetts
 © Peter Bennetts From the architect. In a row of workers' cottages, there is one Dark Horse – a handsome creature. The stepped parapet, centered window, sidelined door and entrance awning are carried with the familiar, unassuming composure of its neighbors. Yet here the materials, stark in their composition, have a distinctly 21st-century character, hinting at the contemporary home within.  © Peter Bennetts Indeed, the palette of black, white and gray is carried throughout the house, lending tonal variation and spatial depth to an otherwise diminutive site. The play of tones establishes a subtle field of spaces that expand and contract, creating moments of generosity and intimacy.  © Peter Bennetts In the living areas, where space and light are abundant, the material palette is darker, creating spaces of comfortable repose. Here, sensitive use of acoustic treatment reinforces these qualities.  © Peter Bennetts In the corridors where space is tighter, the palette lightens and the ceilings lift. The corridor walls - slim and prefabricated to maximize internal space – are lined with a metal sheet to reflect light deep into the house.  Ground Floor Plan  Fist Floor Plan In the heart of the house, the living areas open onto a courtyard. The high-ceilinged corridors pinwheel out from this heart, establishing a sunlit center around which most daily activity occurs.  © Peter Bennetts Upstairs, a warmer palette of timber floors and lining boards sets the tone for the private quarters, while dramatic skylights and generous windows cast this Dark Horse in abundant natural light.  © Peter Bennetts  This posting includes an audio/video/photo media file: Download Now |
| 16 Achievement Stickers To Motivate Freelance Architects Posted: 08 Aug 2017 09:00 AM PDT  via The New Yorker Life as an architect can sometimes be trying. These stickers, designed by Jeremy Nguyen for The New Yorker, are designed to pep you up in your work day with a motivational boost, or a celebratory pat-on-the-back. Did you behave well during a Skype call? There's a sticker for that. Did you finish that presentation before 1am? There's a sticker for that, too. There's even a little badge of honor for which you can self-decorate once you've sent that final, final... final draft to your Project Manager for review.  © Jeremy Nguyen via The New Yorker  © Jeremy Nguyen via The New Yorker  © Jeremy Nguyen via The New Yorker  © Jeremy Nguyen via The New Yorker  © Jeremy Nguyen via The New Yorker You can see the full set of stickers, here.  This posting includes an audio/video/photo media file: Download Now |
| DANA Restaurant / Arquitetura Nacional Posted: 08 Aug 2017 08:00 AM PDT  © Marcelo Donadussi
 © Marcelo Donadussi From the architect. The oportunity to design an industrial restaurant from the ground up became a reality when the company Dana Holding Corporation presented the need of a new restaurant for its Industrial Complex in the city of Gravataí, in southern Brazil. The goal was to unify the two existing restaurants of the complex into a completely new, accessible building, with better quality and comfort for the employees. In common agreement between client and architect the premises of rationally using the natural resources and giving special attention to energy consumption were essential for the decisions that resulted in the strongest points of the design.  Isometric The internal finished floor of the building is elevated 60cm of the surrounding pavement, providing a better thermal performance by limiting the contact with soil humidity. This also levels the floor with the necessary height for the docks in the back of the lot, facilitating the loading and unloading of the heavy vehicles.  © Marcelo Donadussi The solar orientation and the ventilation openings were designed to maximize the use of natural light and ventilation, reducing the need for artificial illumination and air conditioning. In the south facade a lower line of pivoting frames receives the natural external air, which crosses the dining hall creating a negative pressure and making the hot air to leave through the upper line of pivoting frames with bigger height on the opposite side, naturally renovating the air through the garden that separates the dining hall from the kitchen area.  © Marcelo Donadussi The minimum waste of construction material, provided by the main metallic structure, the reuse of rain water for the toilets discharge and the use of LED lights were essential in a building that will function intensively every day, being capable of providing up to 2.440 daily meals (between lunch and dinner). The external finishing of the east and west facades is made with a wavy metallic sheet, plain in the closed areas and perforated in the illumination and ventilation openings, providing privacy without compromising the thermal and visual performance. The organization of the workspaces inside the kitchen also deserves recognition: with a continuous flow from beginning to end of the production the restaurants goods arrive in the receiving dock and travel through the phases of pre-cleaning, stock, preparation and cooking until they become the waste that are withdraw through the exit dock on the opposite side. This internal use layout allow for a working environment extremely clean and organized, considerably diminishing the risk of food contamination during the complex operation process of an industrial kitchen.  Ground Floor Plan The internal layout of the building and its garden, with large glass surfaces overseeing the kitchen area allow the opportunity for the employees to closely observe the different stages of the production process and food preparation, bringing an aspect of transparency and learning to an environment that usually does not have these characteristics. The building has a drugstore, a snack bar and also an organic garden where the kitchen's own operation team can plant what they want for internal  © Marcelo Donadussi  This posting includes an audio/video/photo media file: Download Now |
| Tadao Ando Envelops Giant Buddha Statue in Lavender-Planted Hill Temple Posted: 08 Aug 2017 07:00 AM PDT  Screenshot of video courtesy Hokkaido Fan Magazine Pritzker Prize-winning architect Tadao Ando has designed a monumental lavender-covered temple enveloping a giant statue of Buddha at the Makomanai Takino Cemetery in the northern Japanese city of Sapporo. Before the temple was completed, the 44-foot-tall Buddha sculpture stood alone in a field for 15 years. Soon after its completion, the client realized the stone structure was out of scale on its own, giving visitors an uneasy sensation. For that reason, they decided to hire Ando to create a more serene architectural procession for the site. The resulting temple envelops the statue, leaving only the top of its head visible from outside the hill, planted with 150,000 lavenders that allow the landscape to change from green in spring to purple in summer to white with snow in winter. Visitors now approach the Buddha through a 130-foot-long passageway into the circular space surrounding the statue.  Screenshot of video courtesy Hokkaido Fan Magazine  Screenshot of video courtesy Hokkaido Fan Magazine "The aim of this project was to build a prayer hall that would enhance the attractiveness of a stone Buddha sculpted 15 years ago," explained Ando in an essay for DOMUS magazine. "Our idea was to cover the Buddha below the head with a hill of lavender plants. We called the idea the 'head-out Buddha'. Embedded under the hill are a 40-metre approach tunnel and a rotunda embracing the statue." "The design intention was to create a vivid spatial sequence, beginning with the long approach through the tunnel in order to heighten anticipation of the statue, which is invisible from the outside. When the hall is reached, visitors look up at the Buddha, whose head is encircled by a halo of sky at the end of the tunnel."  This posting includes an audio/video/photo media file: Download Now |
| Posted: 08 Aug 2017 06:00 AM PDT  © Leo Espinosa
 © Leo Espinosa From the architect. The 189.3 m2 house is located 25 minutes away from the city center of Mérida. The intention of building with earth is to create harmony between vernacular and modern architecture, tradition and technology, past and present; creating a style that mix schools and trends. With the combination of earth and a conventional material like concrete the old and the new work together.  © Leo Espinosa The rammed-earth walls are the heart of the house, they create a free space that receives guests between the massive soil structure and the Mexican brick vault. Earth is a natural and forgotten resource, it is almost for free and environmental friendly.  Earth Structure  © Leo Espinosa  Process On the social and economic aspect, increasing the use of natural materials empowers people to be self-sufficient and use a resource that is virtually under their feet: soil. It is well known that earth regulates the temperature of an environment and improves the air quality – healthy spaces.  © Leo Espinosa earthLAB started as an exploration towards discovering and pushing the limits of earth as a building material. As a group of architects, engineers and designers with the aim of developing earth building technologies, earthLAB organizes workshops in Sweden where participants and users are introduced into the basics of rammed earth, develops design and helps those interested realize their projects.  © Leo Espinosa  This posting includes an audio/video/photo media file: Download Now |
| Flythrough Video of Eric Owen Moss Architects' (W)rapper Revealed as Construction is Set to Begin Posted: 08 Aug 2017 05:10 AM PDT  © Eric Owen Moss Architects. Via Urbanize LA After starting and stopping for nearly 20 years, a 17-story Deconstructivist tower by Eric Owen Moss Architects seems to finally be underway in Los Angeles' Culver City neighborhood after construction permits were approved earlier this year. Originally known as the Glass Tower, the project has been revived as (W)rapper, a nod to the structure's enveloping steel exoskeleton. A new flythrough video of the project shows the inside and out of the 230-foot tower, including its double-height and mezzanine office levels, as well as a spacious rooftop terrace. In total, the building will offer 160,000 square feet of office space and two levels of underground parking. Located adjacent to the Expo Line's LA Cienega/Jefferson station, the project was originally envisioned as a multi-tower development in the late 90s, before being reduced to its current form. (W)rapper is the latest project designed by Eric Owen Moss Architects for developer Samitaur Constructs in Culver City's Hayden Tract district, including "Vespertine," "Stealth" and "Pterodactyl." According to Urbanize LA, construction work is scheduled to begin in the next two months. News via Urbanize LA.
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| Lugo's Public Market Renovation / OLAestudio + MERCASA Posted: 08 Aug 2017 04:00 AM PDT  © Héctor Santos Diez
 © Héctor Santos Diez From the architect. This work is to erase. Delete everything added to the inherited architecture. The original work was projected by one of the most important rationalist architects of Galicia, Eloy Maquieira (1901-1944), in the year 1936. His premature death deprived us of what would be a brilliant work. But until that date he left us samples of his talent. This is one of them.  © Héctor Santos Diez  Longitudinal Sections  © Héctor Santos Diez Reformed in the 90s, we face the work from two basic ideas: eliminate everything added in the interior and open the square to the outside, make the building more transparent.  © Héctor Santos Diez The space had been filled with elements that avoided the visibility of many of the shops. The upper floor opens onto the ground floor. The central space is cleared. A balustrade-bench gives unity to the whole. Color is always present in our work. The whole original structure is treated with fresh colors, combinations of white, green and alternating golden generate the atmosphere. A place of supplies is, in short, an envelope to protect the merchants.  Uses and Surfaces 02 The market opens to the outside. A stone plaza is projected prior to access to the ground floor. The facade opens. This recessed space allows the access ladder to fly over it. Until this moment the building was surrounded by vehicles. Public space is gained. The building is projected outside.  © Héctor Santos Diez The cover is treated with colored gravel. A gesture of respect to the neighbors. The performance is completed by connecting to the nearby underground car park through a concrete walkway. The skylights and the wood humanize it and serve as a frame for the Roman remains of one of the towns of the city. To say that Lugo is one of the most important cities of imperial Rome in the North of Spain.  © Héctor Santos Diez The greatest effort was focused on demolishing and opening. From that moment the project seeks to be light, warm and timeless.  © Héctor Santos Diez  This posting includes an audio/video/photo media file: Download Now |
| This Street Art Foundation Is Transforming India's Urban Landscape—With the Government's Support Posted: 08 Aug 2017 02:30 AM PDT  The Origin of the World by Borondo, Lodhi Colony, Delhi Last month, ArchDaily had an opportunity to speak with Akshat Nauriyal, Content Director at Delhi-based non-profit St+Art India Foundation which aims to do exactly what its name suggests—to embed art in streets. The organization's recent work in the Indian metropolises of Delhi, Mumbai, Hyderabad, and Bengaluru, has resulted in a popular reclamation of the cities' civic spaces and a simultaneous transformation of their urban fabric. Primarily working within residential neighborhoods—they are touted with the creation of the country's first public art district in Lodhi Colony, Delhi—the foundation has also collaborated with metro-rail corporations to enliven transit-spaces. While St+Art India's experiments are evidently rooted in social activism and urban design, they mark a significant moment in the historic timeline of the application of street art in cities: the initiative involves what it believes to be a first-of-its-kind engagement between street artists and the government.  Unusual Usual by Do and Khatra, Hyderabad Suneet Zishan Langar: Could you explain the origins of St+Art India? What are your primary objectives? Akshat Nauriyal: Essentially, we started around 2014, with twin intents: to make public spaces more vibrant and interactive for the people who use them the most, and to make art more democratic as a medium. We have five co-founders and all of us come from very different backgrounds. I'm a filmmaker and visual artist and I have previously worked documenting the city's emerging sub-cultures. Hanif Kureshi is an artist who has been actively involved in the street art community. Meanwhile, Arjun Bahl and Thanish Thomas have a background in events and logistics and Giulia Ambrogi worked as a curator. We all got in touch around the time of the Extension Khirkee street art festival when we found we were all in six degrees of separation wanting to do the same thing, and that's how our first project came about in Shahpur Jat.  Artwork by Ranjit Dhaiya, Shahpur Jat, Delhi SZL: Why did you choose the Shahpur Jat neighborhood? AN: Shahpur Jat provided us a very interesting space for an art intervention since we wanted to work in a high-density area which was also navigable by foot. Moreover, it is an urban village that was rapidly changing. Back in the day, it used to be predominantly inhabited by the Jat community, but due to cheap rents and its proximity to South Delhi, its peripheral areas were becoming really gentrified. So while a lot of posh boutiques and cafés had opened up on the perimeter, on the inside it was still primarily residential with small hole-in-the-wall shops.  Artwork by Harsh Raman, Shahpur Jat, Delhi SZL: How did you obtain permissions to install artwork on walls? AN: We sought permissions in two ways: bottom up and top down. Bottom up would mean that we went door-to-door and asked residents to permit us to paint on their walls. Some of them said no, some of them said yes, but that's how it began. The top down approach meant that we went to authorities such as the MCD [Municipal Corporation of Delhi] and the CPWD [Central Public Works Department] or other faculties that had the rights or the ownership to the places. Towards the end, we did this mural on the Delhi Police Headquarters, a huge portrait of Mahatma Gandhi by German artist Hendrik Beikirch and Indian artist Anpu. That was a huge moment for us in the sense that, in the historical timeline of street art in the world, graffiti if not street art has always had negative connotations of vandalism. So when we're having street artists paint a 158-foot mural on the façade of a governmental building, that moment holds immense significance not just for the scale of work, but also for its larger relevance. This marked a first-of-its-kind engagement with the government.  The Painted Revolution by Tyler, Delhi SZL: Where do you primarily obtain funding from? AN: We work with a lot of cultural institutions, consulates or embassies to bring artists and fund projects. So essentially, most of our projects are funded by some consulate. We work with almost 20 now such as Germany, Poland, Singapore, and Switzerland. Another major supporter is Asian Paints. A lot of the work we do requires huge infrastructure and a lot of paint, so in that sense Asian paints was a very logical match for us.  There is Nowhere to Go but Everywhere by Hendrik Beikirch, Delhi SZL: How do you choose the artists that you collaborate with? Explain your work process. AN: We first synthesize the project, and then work backward to see who's the best fit for the kind of curation we're doing. We seek very meaningful partnerships with different organizations, whether it's an NGO or a cultural institution, or brands and corporates for that matter. Once we finalize the artist, we primarily work with them and the style that they use.  The Lotus by Suiko, Lodhi Colony, Delhi SZL: Why do you believe that democratization of art is important? AN: We feel that art, at least the way it exists as an industry, has become marginalized only to a very small section of society, almost a novelty of the rich and the elite. We wanted to somehow break out of the regular gallery structure, because if you see the kind of footfall museums receive, it's maybe a few hundred in a month, and that's a high estimate. But if you flip that and look at public spaces as places to experience art, then you have thousands of people crossing these areas every day, and just in terms of the reach that the artwork can have, it's tremendous, exponentially larger than what it can have in a closed environment.  Artwork by Sergio, Shahpur Jat, Delhi SZL: How do you think this affects a community or a people? AN: I think the impact is very multi-faceted and layered. Different places react differently. So we've seen in our experience that if we're working in a neighborhood, it leads to an increased sense of community pride. And it is really endearing to see people take to their own neighborhoods, to feel ownership of their surroundings. For example, in Shahpur Jat, one of the first walls that we painted was this mural of a cat by Indian artist Anpu and it quickly became a locally recognized landmark. People started giving directions based on its location. The people who lived in that building became very well known in the community which led to more people approaching us to paint their walls.  Cat mural by Anpu, Shahpur Jat, Delhi SZL: The Lodhi Public Art District in Delhi is undoubtedly your largest urban intervention. What was the idea behind the selection of Lodhi Colony? Also, how do you think your work has altered the structure and meaning of the neighborhood?  Vishvaroopa by Inkbrushnme, Lodhi Colony, Delhi AN: Yes, there was a very clear intent in picking Lodhi Colony. We wanted to create multiple artworks in the form of an open walkthrough gallery where people could just come and spend a few hours a day and have a good time exploring the city. So Lodhi was a natural choice. It is one of the rare places in Delhi which is pedestrian-friendly. It's also well organized in the sense that it's easily navigable, and it has symmetrical blocks created in a localized typology. The façades that it presented were beautiful, large and symmetric, which meant that almost every artist got a similar canvas to play with, and hence, there is a semblance of symmetry to the entire project. Moreover, its location in South Delhi and the fact that it is a residential colony were other key points. As a government-owned residential colony, it didn't face any threat of being gentrified, so we knew that the artwork would stay on.  3 Dead Dahlias by Amitabh Kumar, Lodhi Colony, Delhi In terms of its impact, we witnessed that many people started feeling pride that the neighborhood had become a place to visit on the city's tourist map. Now when you go to Lodhi, there's something happening on the streets all the time, whether it's a photo shoot, or a music video, or ordinary people just having a jolly time. We did a wall in collaboration with the Swacch Bharat Abhiyan [Clean India Mission] and I remember speaking to one person who told me about a man who had stopped his car and was about to urinate on a wall when a few local people strongly objected saying, "someone's taken the effort of painting this beautiful thing. Don't dirty it, just go to a public toilet." So the impact could be simple, maybe it just makes you feel better or it distracts you or it makes you think, but it could also have deeper meanings of community building or keeping the neighborhood clean.  Swachh Bharat Mural, Lodhi Colony, Delhi SZL: How do you make sure your artwork remains contextual to a neighborhood's unique identity? AN: It would be incorrect on my part to say that every project we do is contextual. But that stems from the fact that we work hand-in-glove with artists. So there are many artists that work with themes that are not necessarily contextual. Artwork that is aesthetically pleasing, so to speak, and that is one approach to street art. Another approach is to be highly contextual and socially relevant. I'd say that we have a balance of both. We're very aware of the fact that using public space is a responsibility and we try to navigate that in the best manner possible.  9 Colors of the Soul by SENKOE, Lodhi Colony, Delhi For example, in Lodhi Colony, there are a lot of beautiful pieces that are generic, say SENKOE's artwork that features colorful birds, or the one Shoe did based around typography which used an Indian broom as a painting tool.  Artwork by Niels Shoe Meulman, Lodhi Colony, Delhi But at the same time, there are pieces like the one done by Shilo. She worked with an NGO called Sewing New Futures, which works in Najafgarh, Delhi, an area where a lot of women are forced into prostitution by their families. The organization works with these women to empower them with alternative sources of livelihood. Shilo worked with the young girls there, and their stories became the inspiration behind the project.  From Your Strength I Weave Beauty by Shilo Shiv Suleman, Lodhi Colony, Delhi [The mural "From your Strength, I Weave Beauty" by Shilo Shiv Suleman identifies two women from the community. An older woman steps out of the mist on the left side; her struggle has carved lines into her face as she navigates the night inside her. On the other side, her daughter pulls this fog out of the dark sky and weaves it into alchemical threads of gold, creating a new future for them both.] Similarly, in Bangaluru, we did a project with this organization called the Aravani Art Project which works within the transgender community to provide visibility, and open up discussion about issues that are prevalent within the larger LGBTQ community. It seeks to demonstrate that transgender people are just as skilled and able as anyone else, and that they can contribute to society.  Naavu Idhevi - We Exist by Aravani Art Project, Bengaluru [The mural 'Naavu Idhevi - We Exist' by Aravani Art Project features a trans person as its centerpiece to provide a reminder of the community's existence in India's dense society. The painting uses geometric shapes that form a gender-fluid face refusing to look away, and the Hibiscus flower which is known for having both male and female parts. The Hibiscus, like the trans person, grows on the fringe and lights up Indian streets in an unapologetic burst of color and diversity.]  Crochet-work by Olek, Delhi We also worked in Delhi with an American crochet artist called Olek. The Delhi Urban Shelter Board had created night shelters for the city's homeless people and in order to highlight this initiative, Olek worked with almost thirty women from different socio-economic backgrounds to synthesize this project where we used a kilometer-long fabric and draped the entire night-shelter in it.  Kempegowda by Ullas Hydoor, Bengaluru In Bangaluru, we worked primarily with Indian artists because we wanted to let them talk about their cities and build local narratives through the walls. An artist called Ullas did a mural on Kempegowda, one of the founding fathers of Bangaluru. Appupen, a comic book artist, did murals in a metro station which chronicled stories associated with the city's history, almost like folk stories or fables. So yes, we're sensitive to the local narrative that the places that we work in offer us and wherever possible, with the artist that we're working with, we try to synthesize projects that are inclusive.  Artwork by Appupen, Bengaluru SZL: Transit is a mundane but unavoidable part of modern city life. Do you believe your work on metro-stations will help redefine the function of transit-spaces?  Artwork by Agostino Lacurci, Govindpuri Metro Station, Delhi AN: You used a very important term, function, and we believe that our cities are built to just be functional and nothing more than that, most of the time at least. While urban design is surely evolving in our country, it still leaves a lot to be desired. Transit spaces are increasingly being used as thoroughfares, almost more than streets themselves, as more people opt to use public transport now. These become part of a routine for people and we've observed that they can become really inert in the way they exist. So we're trying to bring in an element of experience to these spaces that are just functional, something that makes them more interactive. It's about conversation, the intention is that these efforts lead to dialogue between people, whether it's internal or external. You see an artwork, some people think, "oh, I like it," some people will disagree, and in the process you think, "why do I like it?" or "why don't I like it?" or if you have a question you might just ask a person next to you, a stranger, and that starts a conversation.  Artwork by Nilesh, Arjangarh Metro Station, Delhi A good example of that is the Dadasaheb Phalke mural that we painted on the MTNL Building in Bandra, Mumbai. Phalke is the father of Bollywood, the first person to make a moving image here, but nobody really knows about him. When we put up that mural, I remember I was taking some shots as I rode on a bus, and there were two people in the seat right in front of me. The older man asked, "Oh, what's that?" and the younger guy, more aware of what was happening in the city said, "It's a man called Dadasaheb Phalke but I don't know who he is." And as I sat there, I saw this great dialog between two perfect strangers as the older man went on to explain the legacy of Phalke. That's what our work is about, in essence. So something like that put in a transit space has a profound impact, whether it's about its pleasing visuals, or a deeper internal dialogue. And in terms of urban design, we believe it is our responsibility to make cities that are representative of the point in time that the country or the city is going through.  This posting includes an audio/video/photo media file: Download Now |
| Chios Mastic Museum / KIZIS STUDIO Posted: 08 Aug 2017 02:00 AM PDT  © Yorgis Yerolymbos
 © Yorgis Yerolymbos From the architect. The Museum of Chios Mastic presents the techniques of gumtree cultivation, the industrialisation of the mastic gum and the evolution of its commercial exploitation through time. It is located on a hill slope facing the medieval village of Pyrgi, in a mastic gumtree grove used as an experimental cultivation.  © Yorgis Yerolymbos The visitor reaches the museum at the highest point of the plot, via a rural road. No building volume obstructs the panoramic view; the museum is gradually discovered by the visitor, who dips into it as moving downwards, through a path of successive covered, enclosed and open air spaces.  Site Plan The museum building is comprised of two parallel wings, half embedded in the ground, following the natural slope. These are covered by two large timber roofs, leaning counter to the slope. One enters from the upper wing, through the covered passage between the ticket office and the multipurpose space.  © Yorgis Yerolymbos After getting a ticket, one walks down to the lower wing, where the permanent exhibition space is located. In there, one follows the successive exhibition sections, that intertwine with their architectural features: the first section, devoted to the traditional cultivation, is in direct contact with the gumtree grove through large glass panels on both sides of the building. The history of the cultivation is presented in dimly lit or completely dark spaces and the industrial history, where the impressive equipment of the first factory is featured, is housed in a double-height space, where the production line is interactively operated by the visitor. The visit is extended outdoors, in the mastic gumtree grove. Visual aids compliment the understanding of the function and the unique character of the mastic grove and its cultivation.  © Yorgis Yerolymbos The visit follows a predetermined path, which gradually slopes back up to the café, the museum shop, the exit and the parking space. The educational program activities, the museum offices, the archives and the auxiliary spaces are all located in the lower floor of the upper wing, in direct access from both wings.  Section Product Description.The two parallel sheds, that is the most characteristic aspect of the building, are made of laminated timber, fabricated by EUROCO SA, and covered by zinc sheets. Their main beams vary in length from 21.00 to 25.80 metres, on a structural increment of 6.50 metres. The sheds are supported by steel joints on concrete foundations on the southern part, which leans on the ground, and rests on composite tree-shaped laminated timber columns with steel reinforcements on the north part, which is their highest side. The contiguous tree-like upper part of the columns form a custom made truss, which refrains the bearing system of the sheds from horizontal movement.  © Yorgis Yerolymbos  This posting includes an audio/video/photo media file: Download Now |
| Humanscale's Ergonomic Design Templates Are the Ultimate Architect's Tool Posted: 08 Aug 2017 01:00 AM PDT  © IA Collaborative Put away the Neufert manual and pixelated Internet searches, because scaling people just got a whole lot easier. The Chicago-based design consultancy IA Collaborative has launched a Kickstarter campaign for the reissue of Humanscale – a set of ergonomic design templates that contain over 60,000 measurements adjusted to humans of all ages, sizes and, yes, even situations.  © IA Collaborative Originally produced by Henry Dreyfuss Associates in the 70s and 80s, the out-of-print templates are now rare vintage books and selectors, currently in the Smithsonian collection at the Cooper Hewitt (as both a historic design artifact and an extremely useful tool for designers). Now, the templates are getting a second lease on life with a revamp of 3 new booklets of 9 data sets.  © IA Collaborative  © IA Collaborative Working in collaboration with Humanscale's original creators and printers, IA's goal is "to make this ultimate design artifact widely available once again for all to appreciate." Said IA Collaborative on Kickstarter: "After finding so much value using Humanscale during the prototyping process in our own design work, we wanted to make them available at a reasonable cost to people everywhere."  © IA Collaborative
Each booklet contains 3 templates geared to different facets of the human body in architecture, covering an array of topics including body dimensions, seating standards, and disabled access guidelines. Using the "data selector" that rotates around each template, users can gather the right data depending on age, size or mobility.  © IA Collaborative  © IA Collaborative  © IA Collaborative It doesn't stop there - Humanscale has organized its data to provide the most specific of design minutiae: from using hand and foot controls (5a), human strength (4a) and even the measurements you'd need to sit at work comfortably (7b). Booklets like the Public Space Selector also include references for corridors, doorways, lavatories, classrooms and outdoor walks—with measurements as detailed as affordances for people holding umbrellas. Units are in both inches and mm.  © IA Collaborative  © IA Collaborative
 © IA Collaborative  © IA Collaborative The Humanscale Kickstarter campaign is set to end on August 25 with a goal of $137,800. Each trio of booklets is sold at a price of $79, with all Earlybird discounts already sold out on the page. According to IA Collaborative, there are ambitions for a Humanscale 2.0 that includes plans to expand the data and create new guides for the future of digital experiences. To find out more about Humanscale and IA Collaborative, check out their Kickstarter here. News via: IA Collaborative.
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| Posted: 07 Aug 2017 11:00 PM PDT  Asakusa Culture and Tourism Center. Image © Takeshi Yamagishi Kengo Kuma (born 8th August, 1956) is one of the most significant Japanese figures in contemporary architecture. His reinterpretation of traditional Japanese architectural elements for the 21st century has involved serious innovation in uses of natural materials, new ways of thinking about light and lightness and architecture that enhances rather than dominates. His buildings don't attempt to fade into the surroundings through simple gestures, as some current Japanese work does, but instead his architecture attempts to manipulate traditional elements into statement-making architecture that still draws links with the area in which it's built. These high-tech remixes of traditional elements and influences have proved popular across Japan and beyond, and his recent works have begun expanding out of Japan to China and the West.  via Screenshot from AD Interviews: Kengo Kuma  Yusuhara Wooden Bridge Museum. Image © Takumi Ota Photography Born in Yokohoma and graduating from the University of Tokyo in 1979, after working locally for a few years Kuma worked as a researcher at Columbia University until 1986. His first practice, Spatial Design Studio, was founded in 1987, followed in 1990 by his current practice, Kengo Kuma & Associates, although he continued teaching at Columbia. His early work tended towards the post-modern, but the bursting of the Japanese bubble and the "Lost Decade" of the 1990s created an environment that was not hospitable to such extravagant architecture. Instead of going abroad like many of his contemporaries, Kuma took the opportunity to find and engage with smaller scale craftsmen that became more prominent during the economic trouble, something he credits with reinvigorating his style, moving his focus from the big picture to repeated use of small elements.  Great (Bamboo) Wall Commune. ImageImage © <a href='https://commons.wikimedia.org/wiki/File:Commune_by_the_great_wall3.jpg'>Wikimedia user ぷくぷく</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a>  SunnyHills at Minami-Aoyama. Image © Daici Ano This is also what led to his focus on reinventing natural materials. Traditional Japanese architecture is heavily focused upon rhythm and light, but using natural materials conventionally to achieve this limits your palette heavily. Instead, Kuma began taking materials like stone and using them as though they were light woods or glass, taking thin slices of them and using them as particles. His Stone Museum in Nasu (2000) is a great example of this, taking local stones to create soft and porous walls which shift in the light.  Stone Museum, Nasu. ImageImage © <a href='https://commons.wikimedia.org/wiki/File:Stone_Plaza.jpg'>Wikimedia user Wiiii</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a>  Mont-Blanc Base Camp. Image Courtesy of kengo kuma & associates Other high-profile buildings include the Nagasaki Prefectural Museum (2005) the Asakusa Culture Tourism Centre (2012) and a commune by the Great Wall of China (2002). In recent years he has also received an increasing number of commissions in Europe and North America, including a Metro Station in Paris, a cultural village in Portland's Japanese Garden, Dundee's new V&A Design Museum, a skyscraper in Vancouver and the Hans Christian Andersen museum in Odense. He has also been commissioned—after much controversy—to design the new National stadium for the 2022 Tokyo Olympics in his homeland. Despite all of these significant projects, Kuma still focuses a lot of his time on small scale commissions, working on private houses and shopfronts, especially after the 2011 Japanese earthquake and tsunami.  Shun Shoku Lounge by Guranavi. Image Courtesy of kengo kuma & associates  Starbucks Coffee. Image © Masao Nishikawa See all of Kengo Kuma's work featured on ArchDaily via the Thumbnails below, and further coverage below those: Project of the Month: China Academy of the Art's Folk Art Museum Kengo Kuma Selected to Design New Tokyo National Stadium Seven Architects Transform London's RA into Multi-Sensory Experience Video: Asakusa Culture Tourist Information Center / Kengo Kuma Video: SunnyHills at Minami-Aoyama by Kengo Kuma Siza, Souto de Moura, Kuma Reflect on Their 'Sensing Spaces' Exhibitions Lecture: After March 11th / Kengo Kuma Kengo Kuma Uses Carbon Fiber Strands to Protect Building from Earthquakes  This posting includes an audio/video/photo media file: Download Now |
| Combatentes House / spaceworkers Posted: 07 Aug 2017 10:00 PM PDT  © Fernando Guerra | FG+SG
 © Fernando Guerra | FG+SG From the architect. The intervention in a semi-detached house, located in a perfectly consolidated urban area of the city of Oporto, had as its objective the simplification of the way of dwelling, of a house that already accused the passage of time  © Fernando Guerra | FG+SG The existing property, as well as its annexed areas, reflected the lifestyle that most of the inhabitants of this area of the city maintained in the 60's. Very subdivided interiors, which presupposed a stratified use of the interior of the dwelling.  © Fernando Guerra | FG+SG The social floor, located on the ground floor, has the most public functions of the house such as the living room, dining room, a kitchen with a dining area, and the stairwell that makes the joint for the floors of more private character above and below this.  © Fernando Guerra | FG+SG On this floor, the spaces were practically maintained and updated, with the exception of the entrance and distribution corridor, which suffered the greatest intervention, simplifying their compartmentation and creating a small volume to receive a service facility that did not exist on this floor.  © Fernando Guerra | FG+SG  Ground floor plan  © Fernando Guerra | FG+SG The private floor, on the upper level, has been totally updated and redesigned around the existing distribution space, which by its characteristics we intend to preserve and value, while we try to distribute four rooms on this floor, one of which needed to be a suite and a sanitary installation, tidied around these central space, bathed in intense natural light.  © Fernando Guerra | FG+SG  First floor plan  © Fernando Guerra | FG+SG On a semi-basement floor below the social floor, we find a small service area such as a laundry room and storage room, as well as some livable spaces such as a small office, a multipurpose room and a bedroom that complete the functional program of the house.  Section 05 The intervention introduces color into the spaces, giving them an always different chromatic identity, allowing to cancel the chromatic monotony that made the existing environments quite dark, leaving now the house to be crossed by the light that now invades all the spaces reflecting their different shades.  © Fernando Guerra | FG+SG In the backyard we proposed the creation of a small annex for storage, which takes the form of the house archetype that fuses with the material of the floor giving an idea of continuity. The small garden also has a small swimming pool, with a small support deck, sliding over the swimming pool, covering it when not in use, allowing to extend the space of patio and give it a greater polyvalence.  © Fernando Guerra | FG+SG Nowadays, the act of inhabiting has become bureaucratized, and the house is used as a single element, with a transversal use in all its areas. The intervention carried out met the same objective, the simplification of the house with the updating of its interior layout, for the needs of our day, giving back to the house a relationship with the surrounding surrounding spaces that have long been forgotten.  © Fernando Guerra | FG+SG  This posting includes an audio/video/photo media file: Download Now |
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