Arch Daily |
- Ahead of the 2017 Chicago Architecture Biennale, Mark Lee Discusses It's Contemporary Relevance
- Summer Cave House in Santorini / Kapsimalis Architects
- Hopson Showroom / LATITUDE
- Picchio Visitors Center & Ice Rink / Klein Dytham architecture
- Xiashan Primary School / STI Studio from the Architectural Design & Research Institute of Zhejiang University
- Sou Fujimoto's Polyhedral Pavilion Shapes The Art Island of Japan
- Social Construction: Modern Architecture in British Mandate Palestine
- A Modular Wooden Bench Forms the Backbone of this Awesome Undulating Walkway
- CorpArtes Theater and Cultural Center / Renzo Zecchetto Architects
- 20 Incredible Images of Architecture and Animals: The Best Photos of the Week
- 5 Unexpected Benefits of Working at a Large Design Firm
- Igualada Crematorium / Estudio Carme Pinós
- 10-Square-Meter Apartments: Minimizing Living Space or Maximizing Profit?
- Max Weber Building / Atelier Pascal Gontier
| Ahead of the 2017 Chicago Architecture Biennale, Mark Lee Discusses It's Contemporary Relevance Posted: 10 Sep 2017 09:00 PM PDT  Chicago Cultural Center, home of the Chicago Architecture Biennial. Image Courtesy of Holabird & Root In this episode of GSAPP Conversations, ahead of the opening of the 2017 Chicago Architecture Biennial, co-curator Mark Lee (of Johnston Marklee) and Dean Amale Andraos discuss the theme of the show—"Make New History"—and it's relevance to the field today.  Find out more about the upcoming Chicago Architecture Biennial, here.  Mark Lee delivering a lecture at Columbia GSAPP for the "Arguments" Series. Image © GSAPP Conversations GSAPP Conversations is a podcast series designed to offer a window onto the expanding field of contemporary architectural practice. Each episode pivots around discussions on current projects, research, and obsessions of a diverse group of invited guests at Columbia, from both emerging and well-established practices. Usually hosted by the Dean of the GSAPP, Amale Andraos, the conversations also feature the school's influential faculty and alumni and give students the opportunity to engage architects on issues of concern to the next generation. You can listen to every episode of GSAPP Conversations, here. This particular episode is available to listen to directly on Soundcloud and through the iTunes store and iOS Podcasts app, where you can also Subscribe. GSAPP Conversations is a podcast produced by Columbia GSAPP's Office of Communications and Events in collaboration with ArchDaily.  This posting includes an audio/video/photo media file: Download Now |
| Summer Cave House in Santorini / Kapsimalis Architects Posted: 10 Sep 2017 08:00 PM PDT  © Vangelis Paterakis
 © Vangelis Paterakis From the architect. The summer house is located in the traditional village of Oia on the island of Santorini. It consists of a cave-house inside the volcanic earth and a small exterior house at the upper level. A twisted exterior stairway connects the main pedestrian on the top with both levels ending up to the main yard with the infinity pool.  © Vangelis Paterakis Inside the cave-house there are a sitting room with a small kitchen, two en suite bedrooms, a hammam and a sauna. The exterior yard of the cave-house has been designed as a platform looking the volcano-sea view. An infinity pool, a semi open vaulted space aside (used for dining and lounge exterior facilities) and small sitting corners are the parts of this platform.  © Vangelis Paterakis The main idea of the proposal is the exploitation of the existing cave-house's amorphous curves into a sculptural living space and the design of an exterior platform with a pool hanging on the volcanic cliffs. The opposing feelings of shadow and light and the sense of immersion in the earth and suspension in the void result as a transition from the closeness of the cave-house to the openness of the yard.  © Vangelis Paterakis  Section  © Vangelis Paterakis The design of the summer house is totally integrated in the volcanic landscape and the cubistic architecture of Santorini in a more contemporary twist.  © Vangelis Paterakis  Floor Plan 0  © Vangelis Paterakis The main material used for the reconstruction of the cave-house and for the support of the volcanic cliffs is ''gunite'', a mixture of cement, sand, and water applied through a pressure hose, producing a dense hard layer of concrete. Volcanic stones and white plaster is used for the construction of theinterior and exterior walls. Light beige marble and cement plaster for the floors.  Construction. Image © Vangelis Paterakis Product Description. Cement plaster used in the interior of the cave house is a traditional technique that brings out the plasticity of space.  © Vangelis Paterakis  This posting includes an audio/video/photo media file: Download Now |
| Posted: 10 Sep 2017 07:00 PM PDT  © Hector Peinador
 © Hector Peinador From the architect. LATITUDE has been entrusted to design a center that represents a future commercial area that will be developed in the center of Peking. Hopson Exhibition Center will help future tenants to better understand the appearance, materials and the actual operation of the future commercial area.  Glazing The center has been designed by renovating a one-story building located at the central area of Dawang Lu. A new entrance has been designed, together with the renovation of the garden and the old facade, covering it with a three-dimensional free-standing steel and glass structure. Its geometry comes from the facade planned for the future commercial area.  © Hector Peinador Rather than a flat façade, we converted the geometry into a three-dimensional structure that protects the entrance from rain and dignifies the access to the renovated building at the same time. Furthermore, a thin, white-colored micro-concrete patina that gives a more refined and abstract look to the building has been used to cover the existing façade made of red tiles.  © Hector Peinador Once inside, the visitor enters the center through the reception area and continues to the screening room where an explanatory video is displayed. The visitor then moves to a room where an architectural model of the planned commercial area is set to portray and explain the project in a concise three-dimensional way. This room also contains examples of relevant elements such as materials, lighting and decoration items.  Floor Plan After the introductory area, visitors arrive at the exhibition zone where they can see and experience –following real scale mock-ups– areas such as the gourmet market with its barrel vault ceiling and food kiosk; the café with its sculptural-wood bench; office spaces, retail shops, and the public landscape.  © Hector Peinador In general, the project has been designed as a concatenation of very different spaces and functions. However, wood, bronze, white steel and marble are materials that make the showroom portray a continuous atmosphere from beginning to end for visitors to experience as a whole.  © Hector Peinador  This posting includes an audio/video/photo media file: Download Now |
| Picchio Visitors Center & Ice Rink / Klein Dytham architecture Posted: 10 Sep 2017 05:00 PM PDT  Courtesy of Klein Dytham architecture
 Courtesy of Klein Dytham architecture From the architect. Picchio Visitors Centre and Ice Rink is located in the foothills of Mount Asama, an active volcano. This area of Japan, known as Karuizawa, is famous for its hot springs, cool temperatures in the summer months, red leaves in autumn and snow in the winter, making it the perfect weekend retreat from Tokyo, which is only 90 minutes away by bullet train. This project, a structure that can act as a skating clubhouse in winter and a nature centre in the summer, was a collaboration between Klein Dytham architecture and Japanese landscape design firm Studio on Site.  Site Plan The project is a part of the Hoshinoya Hotel complex and is located next to Japan's first bird sanctuary, which was established in 1964 along with a simple square ice rink for the local ice-hockey team.  Courtesy of Klein Dytham architecture Over the years the bird sanctuary flourished and although the ice rink and small clubhouse became overgrown, the site emerged as a breeding ground for dragonflies which became an attraction in itself for visitors in the summer months.  Courtesy of Klein Dytham architecture The Picchio project revolves around enhancing all of the existing site facilities. The new ice rink is naturally landscaped according to the site topography and the clubhouse brings together the site's dual purpose. The welcoming structure acts as a focal point throughout the year; as a nature and information centre at the start of bird sanctuary treks in spring, summer and autumn, and also as the ice rink clubhouse in the winter months.  Courtesy of Klein Dytham architecture The sweeping arcs that ice skates make on the ice as well as the angles of the winter sun were both key starting points for the design phase. These things, along with the overall shape of the new rink, really informed the architecture of the project. The building was positioned on the only part of the site that receives direct sun, so as to make the most out of the ice on sunny winter days. Two sweeping arcs that follow the perimeter of the rink then become the main walls of the project. The north facing back wall is solid, while the south facing wall acts as a frame with large glass sliding doors that open up in the summer. A large curved steel beam forms a 25m column-free portal frame allowing the sliding doors to completely slide back, giving amazing uninterrupted views of the pond and allowing an uninterrupted view of the pond and forest beyond. The two walls are clad in wooden shingles with random anodized aluminium shingles in 'dragonfly' blue and green.  Floor Plan A large curved double-sided bench runs down the center of the space, allowing people to sit and face the pond in the summer with the doors fully open. Sitting on the other side allows people to face the shelving wall with research materials, displays and monitors. As the space widens towards one end, small informal talks and workshops can take place.  Courtesy of Klein Dytham architecture The transformation of the building from summer nature centre to winter ice rink clubhouse was an important aspect of this project – the structure had to be welcoming and fully functioning in both seasons.  Courtesy of Klein Dytham architecture In the winter months the shelves are relieved of the books and instead filled with rental ice skates. Yet again the double-sided bench is a focal point in the building, giving ample space for lacing up skates, or to sit in the warm and watch the swirling skaters outside. The building location not only keeps direct sun off the ice but allows spectators and skaters alike to soak up the winter sun on a fine day.  Courtesy of Klein Dytham architecture To maximize the skating season, a third of the rink has cooling pipes to help freeze the ice nearest the club house, simple temporary railings define the edge of the ice. As the temperatures decrease and the whole rink freezes, the railings are removed and people can skate around the whole rink. We believe this is the first time in the world an ice rink has combined both assisted freezing and natural ice.  Courtesy of Klein Dytham architecture Ensuring that the Picchio project was in harmony with its surroundings was an important aspect of the brief and huge efforts were made to both echo and respect the natural features of the site. Two deep wintering pools were made in the pond so that fish and other water life could have a place to live where the ice did not fully freeze; the natural flow of the water was the guide for landscaping works. Furthermore, to ensure that even in the depths of winter there is always a hint of the summer months to come, flecks of colour in the form of brightly coloured aluminium panels are darted in amongst the cedar shingles, bringing to mind the iridescent dragonflies that will surely return to the pond as temperatures rise.  Courtesy of Klein Dytham architecture  This posting includes an audio/video/photo media file: Download Now |
| Posted: 10 Sep 2017 01:00 PM PDT  © Chunliu Yu
 © Chunliu Yu Reconstruction of the spiritual home: the design of a resettlement primary school Xiashan Primary School is located in Lingfeng area, Anji County, Zhejiang Province. The total land area of the school is about 20,000㎡. The construction area of the school is about 10,000㎡. The school consists of 18 classes with corresponding supporting functions, which is to replace the existing temporary school buildings and to accept the children whose parents are the residents in resettlement residential area. Because of its near the main road with heavy traffic and be surrounded by extensive resettlement residential area, the environment around the school is relatively messy. Besides, narrow construction land results in very limited space for the main building, especially after arranging the required outdoor space. So how to design a school with function and space conforming to children's characteristics in this narrow space may be a core issues that an architect should consider.  © Chunliu Yu Lost school and home Except home, school may be the most reliable place for a child both in mind and life. For children whose parents are demolition resettlement residents, it could be a pretty harmful thing on them to leave their original homeland and move them to a new strange community. These children have to study temporarily in a transitional school with poor conditions, even lack of supporting venues and other facilities. So their expectation for a good school can be the greatest motivation for designers in their creative design process.  © Chunliu Yu The construction from "Garden" to "Yard" At the beginning of the design phases, we regarded the design as a precious opportunity. Which will provide the children who should have spent their childhood in a happy time a beautiful spiritual "home". In our design goal, we hoped to create a space that is isolated from the outside world, only for the spiritual ascription of children. The design began with the idea build to a spiritual "home" for children. We used the methods called "enclosure" and "reorganization" to organize the teaching space and auxiliary space, then the combination of yard and space began to take shape. Enclosed inner yard is not only a rich experience of space or visual experience, but also a heart and physical privacy world, a spiritual "home", belong to children. From this our design completed from "garden" to "yard".  Courtesy of Department Of Architecture, Zhejiang University Environmental integration The construction land is surrounded by mountains. How to introduce natural scenery into architecture. Through the surrounding environment analysis and urban design research, the designers had drew lessons from the traditional Chinese garden design techniques. They opened frame and visual corridor in some places of the enclosed yard space, which made the closed patio space do echo with mountains and contact each other. Here, the communication of the natural sight and the extension of the mountain landscape become the theme of design.  Diagram Cultural inheritance In the process of shaping a relatively simple inner yard facade system, the designers drew on the concept of Jiangnan landscape and the image of Taihu stone. By creating irregular opening windows and interesting facade, they made landscape level of the inner courtyard more abundant, which can better stimulate children's instincts of exploration and seeking knowledge. In this yard, the designers created the Spiritual "home" which incorporates children's naivety and abstract Chinese garden imagery.  © Chunliu Yu An attempt at material and color In the selection of material and color, considering the period, cost, use, safety and so on, we chose imitation fair-faced concrete paint as the main facade material. The main color ,cinerous ,blended with the color of the mountains naturally. Considering the characteristics of primary school buildings, we added a bright color modulation system into the main facade material and make children feel more intimate. These two sets of color system are complements, forming a unique visual color feel.  © Chunliu Yu Phased construction planning As a result of the construction on former land, the area was implemented in two phases. The original temporary teaching building was demolished after the completion of the teaching building in April 2016, in order to build the restaurant , the sports building and supporting facilities of playground on former land. All the school construction is expected to be completed in next March.  © Chunliu Yu In this building, designers focused on the venue, space, material, color, etc. They grasped the children's scale and psychological, then use the language of architecture to express human nature ponder. Through the pursuit of the spiritual home and yard, the designers deliver a way to design solutions and useful try on the basis of the social reality and understanding of children outside the building itself.  This posting includes an audio/video/photo media file: Download Now |
| Sou Fujimoto's Polyhedral Pavilion Shapes The Art Island of Japan Posted: 10 Sep 2017 09:00 AM PDT  © Fernanda Castro Located a few meters from the terminal of Naoshima, the Japanese island better known as the "Art Island", Sou Fujimoto's Pavilion appears as a translucent and lightweight diamond perched on the coastal edge of Kagawa, visible from SANAA's ferry terminal welcoming the visitors to the island. The Naoshima Pavilion was part of the 2016 Setouchi Triennial. Fujimoto has created its structure with a white painted stainless steel framework, acting as a mesh that gives the polyhedron it's irregular shape and light appearance as if it was levitating from the ground.  © Fernanda Castro The structure has an interior height of 7 meters making it a habitable structure that encourages visitors to enter and experience this reticulated and delicate space that at the same time generates shadows and allows wind breezes to trespass it. Its irregular shape and the different slopes generated in its interior gives flexibility to the structure either in contemplative terms or as a resting place from the intense sun.  © Fernanda Castro  © Fernanda Castro The pavilion is one of several architectural and artistic landmarks of the island of Naoshima which also features works by SANAA, Tadao Ando, Yayoi Kusama and James Turrell among others.  © Fernanda Castro  This posting includes an audio/video/photo media file: Download Now |
| Social Construction: Modern Architecture in British Mandate Palestine Posted: 10 Sep 2017 07:30 AM PDT  65 Hovevei Zion Street, Tel AvivJaffa, 1935, Architect: Pinchas Hütt. Image © Itzhak Kalter The exhibition Social Construction: Modern Architecture in British Mandate Palestine, tracing the influence of international Modernism on the architectural vernacular that developed in Palestine during 1917–48, is on display at the Yale Architecture Gallery from August 31to November 18, 2017. Originally organized by the Israel Museum, in Jerusalem, the show draws inspiration from the extensive research of architects Ada Karmi-Melamede and Dan Price, whose accompanying book, Architecture in Palestine during the British Mandate, 1917–1948, explores not only the functional aspects of this new architecture but also the social values that shaped the defining language of this new architectural style. The original exhibition was curated and designed by Oren Sagiv, chief of exhibition design at the Israel Museum, with Eyal Rozen.  Zlotopolsky House, 9 Gorgod Street Tel Aviv Jaffa, Architect: Dov Karmi. Image © Itzhak Kalter The exhibition explores the design and functionality of the new Modernist architecture that developed in the early twentieth century in cities including Jerusalem, Tel Aviv, and Haifa, as well as the social values of the new land that were reflected in this style. Focusing on projects realized between 1930 and '40, Social Construction features more than sixty archival photographs of the architectural icons of the time and roughly forty interpretive and analytical ink-on-Mylar drawings executed over the past twenty years.  15 Melchett Street, Tel AvivJaffa, Avraham Berger and Yitzhak Mandelbaum. Image © Itzhak Kalter A focus in the show is the way urban centers emerged from the influence of international Modernism while forming a unique architectural language inspired by the ambitions to establish a new state and create a new social order. The influx of immigration to Palestine following the Russian revolution of 1905 and the concurrent political upheavals in Eastern Europe brought a generation of architects who embraced Modernism as a new beginning. This imported language spread across the landscape to create a uniquely local vernacular that expressed the ideological foundations of the new society.  May Cinema, 5 Hassan Shukri Street, Haifa, Architect Yehuda Lilienfeld. Image © Itzhak Kalter The master plans developed during the British Mandate for each of the region's major cities also show varying degrees of Modernist architectural influence based on their existing urban footprints. Modern materials and forms were adapted in response to the climate and geography of the region. Tel Aviv in particular was perceived as a "blank slate," open to the embrace of new architectural modes.  Bat Galim Casino, Haifa, 1934, Architect Alfred Goldberger. Image © Itzhak Kalter This exhibition focuses on three phases of design, each presented in a separate section: "Architectural Precedents," new to the show at Yale, focuses on buildings inspired by a classical, colonial, or Byzantine architecture as well as by early Modernist notions. "Emergence of a Modernist Language," which was the focus of the original exhibition, includes buildings that were influenced largely by the principles of European Modernism and its rigor. The spatial language of the buildings is clearer and hierarchical, and lends itself to fewer interpretations. The third section, also added to the Yale exhibition "Hybrid Modernism," focuses on buildings that relied on the Modernist language but were no longer entirely given over to its tenets or syntax.  Bialik School, Levinsky Street Tel AvivJaffa, 1930's, Architetc Ya'acov Shiffman Ben Sira. Image © Itzhak Kalter Highlighting the architectural vocabulary of the time, the exhibition explores such attributes as double-layer facades, public use of rooftops, mixed expressions of engagement with the street, the intermingling of public sidewalks and private gardens, and the typology of workers' housing. Case studies include Shmuel (Sam) Barkai's Aginsky House (1934) and Lubin House (1937); Alfred Goldberger's Bat Galim Casino (1934); Dov Karmi's Max Liebling House (1936); Theodor Menkes'sGlass House (1938); Zeev Rechter's Angel House (1933); and Arieh Sharon's Workers' Housing ("Meonot Ovdim," 1937).  Workers' Housing, City block of Frishman, Dov Hoz, Frug Streets, Tel AvivJaffa, 1934, Architect Arieh Sharon. Image © Itzhak Kalter Karmi-Melamede, who will give a gallery talk on September 15, designed the Supreme Court building in Jerusalem (1992), the campus of the Interdisciplinary Center in Herzliya (1993), the Open University in Ra'anana (2004), among many other projects. Establishing her own firm in 1992, she has also been a professor of architecture at Columbia University (1977–82), Yale School of Architecture(1985 and 1993), and the University of Pennsylvania (1991).
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| A Modular Wooden Bench Forms the Backbone of this Awesome Undulating Walkway Posted: 10 Sep 2017 07:00 AM PDT  © Zeenah Mohammed Ali This modular design developed by the students of the Department of Architecture Sciences at Ryerson University proposes a public space to sit and relax that works as an extension of the walkway, appropriating and giving a new meaning to the parking spaces in the streets of Toronto. The project, with a natural wave form, is built by a series of Accoya wood modules, which allow easy storage, reuse, and reconfiguration. From the architects. As Toronto continues to transform, so too has its streets. Increased demand for pedestrian-friendly neighborhoods has sparked the creativity of city planners and designers alike to think outside the box. As a result, spaces that have traditionally been allotted for automobile parking can now take on a whole new meaning.  © Zeenah Mohammed Ali Ultimately, this has led to the concept of a Parklet: a public amenity that incorporates seating to act as an extension of the walkway.  © Zeenah Mohammed Ali Toronto Parklet 2017 represents one of the first times design and function have successfully come together on the streets of Toronto. The design was developed by students from Ryerson University’s Department of Architectural Science.  © Zeenah Mohammed Ali The design features Accoya wood that undulates in a graceful manner from end to end. Accoya was chosen due to its ability to repel water, along with its strength and elegant grain. In order to achieve this natural undulation, each piece of wood was rounded in a concave and convex manner and then attached side-by-side to form layers.  © Zeenah Mohammed Ali The Parklet has been designed in 50cm modules allowing for it to be easily stored, reused, and reconfigured. The result is an inviting space for pedestrians to sit, relax, and enjoy their meal or the weather.  © Zeenah Mohammed Ali Toronto Parklet fits in perfectly on vibrant Elm Street with its glowing LEDs and light wood material matching the softly lit trees that line the walkways. Moving forward, Toronto Parklet aims to be the building block and inspiration for future Parklets to come.  via ParkletTO  via ParkletTO  via ParkletTO  via ParkletTO Ryerson University Design Team: Joana Benin, John Benner, Jason Glionna, Gregorio Jimenez, Marissa Liu, Tess Macpherson, Diana Sobaszek  This posting includes an audio/video/photo media file: Download Now |
| CorpArtes Theater and Cultural Center / Renzo Zecchetto Architects Posted: 10 Sep 2017 06:00 AM PDT  © Guy Wenborne
 © Guy Wenborne From the architect. The CorpArtes Cultural Center is located in an active urban setting, surrounded by tall glass office towers and adjacent to a restaurant-lined pedestrian boulevard. The project is an opportunity to bring together disconnected urban assets and integrate them into the Cultural Center as an urban destination.  © Guy Wenborne The program is a combination of new facilities and the renovation and re-purposing of existing spaces. The theater space was created underground utilizing vacated parking areas to support the infrastructure. The theater fly tower is the only visible volume at street level, acting as a sculptural marker for announcements and outdoor events. Clad with bead-blasted stainless steel plates, its soft reflection contrasts with the all-glass surroundings. A large open plaza receives visitors and connects the pedestrian boulevard to a sunken sculpture court.  Floor Plan The Sculpture Court. On the way to the main lobby, visitors descend upon an open space containing a collection of 20th century sculptures by Salvador Dali, Giorgio de Chirico, Roberto Matta, and Auguste Rodin. The sunken court enables an intimate viewing experience, while the sculptures are positioned to invite onlookers from the office towers, plaza, and the lower garden café.  © Guy Wenborne The Art Galleries The underground galleries wrap around the base of a 25-story glass office tower that was opened to allow natural light into the main lobby. The galleries have three distinct configurations, allowing for flexibility in exhibition layout, lighting, and event programming. The lighting is designed to provide even illumination for the gallery walls and accent lighting for sculptures. The floors are small format end-grain wood block allowing for easy replacement after anchoring artwork.  © Guy Wenborne The Performing Arts Theater The space is conceived as a highly reverberant volume for natural acoustic concerts. To achieve the desired acoustics within a limited space, the orchestra seating level was dropped one floor down. Moreover, ancillary spaces were acoustically coupled with main theatre volume.  © Guy Wenborne  Section  © Guy Wenborne The 900-seat proscenium theater is configured as a stretched horseshoe with galleries and shallow boxes along the perimeter. At the parterre level, shallow balconies built of solid cross laminated timber were shaped to deliver early reflections to the main audience seating area. For the theatrical mode setting, the room is equipped with deployable absorptive banners installed behind slotted screens not visible from the seating areas.  © Guy Wenborne  This posting includes an audio/video/photo media file: Download Now |
| 20 Incredible Images of Architecture and Animals: The Best Photos of the Week Posted: 10 Sep 2017 05:00 AM PDT  For the animal lovers among our audience, this week we have put together a special roundup of images of architecture alongside some marvelous critters. While not exactly a mainstay of architectural photography, proponents of the form like BoysPlayNice, Jesus Granada and Rafael Gamo have dared to include animal inhabitants in their architectural compositions. Read on to see a selection of 20 creative images where you will find horses, sheep, cows, goats, dogs, cats, and even elephants. BoysPlayNiceThe Dox House / Mjölk architekti © BoysPlayNice BC architectsLibrary of Muyinga / BC Architects © BC architects marte.marte architectsGriss Equine Veterinary Practice / marte.marte architects © marte.marte architects Daniela Mac AddenH3 House / Luciano Kruk © Daniela Mac Adden Carlos ChenHousing for Mahouts and their Elephants / RMA ArchitectsLance HerbstK Valley House / Herbst Architects © Lance Herbst Agustín GarzaHacienda El Barreno Visitors Pavilion / Grupoarquitectura © Agustín Garza Arnaud SchelstraeteTalent.IO Office / Vincent & Gloria Architectes © Arnaud Schelstraete Filip DujardinObservation Tower Negenoord / De Gouden Liniaal Architecten © Filip Dujardin Olo StudioKonieczny's Ark / KWK Promes © Olo Studio Matharoo AssociatesCasa con Pelotas / Matharoo Associates © Matharoo Associates Nuno AlmendraHouse in Estoril Beach / José Adrião Arquitectos © Nuno Almendra Jesús GranadaEspacio Escénico en Níjar | MGM arquitectos © Jesús Granada Hiroyuki OkiTerra Cotta Studio / Tropical Space © Hiroyuki Oki Rafael GamoEl Mirador House / CC Arquitectos © Rafael Gamo Foster + PartnersElephant House | Foster + Partners © Foster + Partners Adrià GoulaA'Bodega / Cubus © Adrià Goula Gartnerfuglen & Mariana de DelásGrooming Retreat / Gartnerfuglen + Mariana de Delás © Gartnerfuglen & Mariana de Delás Nelson GarridoCasa en el Tiempo / Aires Mateus + João e Andreia Rodrigues © Nelson Garrido  This posting includes an audio/video/photo media file: Download Now |
| 5 Unexpected Benefits of Working at a Large Design Firm Posted: 10 Sep 2017 02:30 AM PDT  Courtesy of CannonDesign Like most architecture students, I heard the debate about whether it was better to work at a large or small design firm numerous times during my collegiate career. There are undoubtedly benefits offered by firms of each size, and you'll find tons of people eager to discuss how the resources of a large firm can compare to the creative flexibility of a small firm and similar such discussions during your student journey. Truthfully, there's no one best option or preferred path, but, with thousands of students set to head back to architecture or design school this fall, I wanted to share my perspective. It was just a few years ago that I was in my final year of school and faced with a decision: what size firms should I pursue for my first job? There were numerous aspects of small firms that spoke to me, but ultimately, I chose the large-firm experience. Big offices, big projects, job security, the latest tech, modeling and 3D printed resources—this all sounded great to me. Two years in, I've found most of those benefits to ring true, but I've also uncovered several benefits I didn't know I should have been looking for in the first place. These unplanned discoveries have made a significant difference in my day-to-day experience and in helping to kickstart my career. I thought it might be helpful to share them so other students can consider them when making their decision in 2018 and beyond.  Courtesy of CannonDesign 1. People as a ResourceWorking at a large firm, I expected to have access to an abundance of physical resources—the latest tech, any drawing and modeling tools I might need, an extensive material library, and so on. What I did not realize was how valuable the people I would meet could be for my career. At a large firm, you meet so many people with different backgrounds and areas of expertise who can help you learn and grow in unexpected ways. At our firm (I work for CannonDesign), we have subject matter experts that support our various market practices. These individuals have very specific knowledge that we can access. If I want to learn more about clinical healthcare planning, there's a resource for that. If I have an interest in construction administration, there's a resource who can help. If my passion is BIM technology and project integration—you guessed it—there are people who can support me. I imagine there are similar models at other large design firms and new grads should consider how having these minds at their fingertips can provide learning and development opportunities. 2. The Unexpected Ways Large Firms Support LicensureAfter graduation, becoming a licensed architect is often the next significant goal in a designer's journey. I knew large firms typically have strong licensure support programs and I expected to receive support for my study materials and exam fees, but the other resources available have surprised me. I can take exams without using a personal day or my weekends. I have access to study groups, not only in our New York City office but across the firm, that ensures I can strategize with other ARE candidates about the nuances of the exams. Our office even has an ARE mentor who checks in on all of us who are studying to offer support and encouragement. I imagine the depth of these resources may not have been available at a smaller firm, and so far they have really helped me work toward licensure. 3. Multi-Market ExperienceChoosing between working for a large or small firm is not the only tough decision young designers face early in their career. Often, they don't know if they'd like to focus on a specific market like healthcare, civic or science, etc. One of the helpful benefits of working at a larger firm is the variety of opportunities to experience these markets. While I am currently working on a healthcare team, I've also explored the world of higher education, science & technology, and corporate commercial projects. If I want to change markets, I have the flexibility to transfer to a different team or project without leaving my office or firm. 4. Inter-Office OpportunitiesLarge firms have multiple offices and this creates an abundance of opportunities for designers. Even in the early stages of my career, I can work on a project in a different state from where I live, work temporarily on a project at a different office and travel to cities across the country or world (I haven't traveled internationally yet—but the opportunity is there). This multiple-office model means if a large firm wins a massive, multi-phase project in California, designers in New York City may have the chance to help make it a reality. Beyond just researching a firm's size, young designers should also ask potential employers if they support such a collaborative culture. I've been able to experience the benefit of this model in numerous ways. I was able to transfer from our Chicago office to NYC to live closer to home. By making the move in the same firm, I retained my connections and experiences in Chicago while expanding my network. This kind of freedom helps young designers move and grow without having to take big risks or make undesirable career changes.  Courtesy of CannonDesign 5. Best of Both WorldsOne thing I heard frequently during my studies was the idea that large firms do not offer the "tight-knit team feel" you will find at smaller firms. While others may have had this experience, I've realized just the opposite. Yes, joining an office with 200+ people can be intimidating and getting lost in the crowd is possible. I took that risk and I'd argue working at a larger firm helped me find the right small group of people as opposed to the only small group of people. This balance of large firm and small teams provides important flexibility to develop professional relationships in a variety of forms. This is by far the most important benefit I've enjoyed in my career. The small-team atmosphere makes my daily work more enjoyable—helping me feel comfortable and confident that I am a key player in the work we do. There will always be a debate about whether young architects should begin their careers at large of small firms. And it's possible that, had my career taken me a different path, I'd be writing a piece with a completely different view. But, two years in, I've discovered a number of benefits I never considered that assure me a large firm was the right starting point for my career. These "hidden gems" have shaped my experiences beyond what I could have imagined. I hope my story can help others make the right choice for them. Heather Rosen is an intern architect with two years of experience working at CannonDesign. She has worked on projects in multiple markets and been involved in programming, planning and design efforts.  This posting includes an audio/video/photo media file: Download Now |
| Igualada Crematorium / Estudio Carme Pinós Posted: 10 Sep 2017 02:00 AM PDT  © Jesús Arenas
 © Jesús Arenas From the architect. The project responds to the desire to integrate us into the cemetery without distorting the great poetics emanating from it. The crematorium located on the top of a hill that covers the chapel and services, so that from the cemetery does not perceive the new building but, instead, we perceive the atmosphere and beauty of the cemetery.  Ground Floor Plan The main idea of the project has been to gently understand the situation implied by the program. Our position has been to relate to nature by creating a dialogue between the visitors and the distant landscape that can be seen from the windows of the building.  © Jesús Arenas It also responds to this will the slightly elevated location of the crematorium, located just above a set of aromatic plants. We intend to give the feeling of being on a different plane to the one where the everyday lives and that relates to life.  Sections A/B/C Although it could be considered a purely technical building, we wanted to endow it with all the poetics that the state of mind of those who come to this space requires.  © Jesús Arenas We used materials that link the building to the cemetery. On one hand, concrete, a predominant material in the cemetery, gives the crematorium a more sculptural character and, instead, the ceramic enclosure gives it a less monolithic and more welcoming dimension.  © Jesús Arenas  This posting includes an audio/video/photo media file: Download Now |
| 10-Square-Meter Apartments: Minimizing Living Space or Maximizing Profit? Posted: 10 Sep 2017 01:00 AM PDT  Floor Plan of the 10m² apartment in downtown São Paulo. Image via Raquel Rolnik's blog. The launch of a building in downtown São Paulo - Brazil was the talk of the town due to its surprising apartment sizes of only 10 square meters. This raised the debate about the market trend to produce ever smaller properties and the ability of these properties to meet the needs of its residents. There is no doubt that, this type of real estate is related to newest trends of family compositions. It is increasingly common for residences to be occupied by only one person, or at most two. According to data from the SEADE Foundation for 2010, in the State of São Paulo, almost 40% of households have these characteristic, 13% of which is made up of a single resident. Therefore, apartment buildings as small as the one that has just been released are not targeted to large families, but couples without children, emancipated young people, divorced people, or even the elderly in an increasingly aging population. What is the minimum necessary space before compromising quality of life? This is certainly an old discussion. It was first launched by modernist architects and urban planners in the early twentieth century, gaining special importance in the interwar period. In 1929, during the second Internacional Congress of Modern Architecture (ICMA), one of the main meetings of the modernist movement that took place in Frankfurt, the central theme was precisely this and the great architects of the time, as Walter Gropius, Le Corbusier, and others, presented their thesis. At that moment, however, it was not to discuss what should be the minimum length of the housing, but what were the basic needs of living, and it went beyond the scope of the houses and apartments itself to encompass the whole city. It was from these discussions that the understanding about the need for public green areas, leisure areas, day care for children and collective laundries that allowed women to be especially liberated from domestic activities consolidated. There was also the understanding that the State had a duty to provide such conditions to the population by offering their equipment and services publicly and free of charge to the population. Considering the context of a large deficit of housing due to war, for modernist architects this discussion of minimum housing was also related to the utopia of guaranteeing affordable housing for all. They argued that it would be possible to produce housing in series at a very low cost, thanks to the industrialization of construction. Our housing needs in the current context of the city of São Paulo are also quite complex. But these real estate products of 10 square meters, sold for almost 100 thousand reais (roughly 32,000 USD), are far from that modernist utopia. Although the building has a series of equipment of collective use, such as kitchen, laundry, and area to receive visitors, equipment for residents exclusive use, certainly it will also imply high costs of the condominium. In addition, at a cost of almost 10.000 reais per square meter, one of the largest in the city, these apartments in Vila Buarque - São Paulo will not be at all affordable for most of the population. In this context, this launch seems to be much more related to the open possibilities of, drastically reducing useful areas, to provide significant increases in the profit margins of the developer. Originally published on Raquel Rolnik's blog on August 21, 2017.  This posting includes an audio/video/photo media file: Download Now |
| Max Weber Building / Atelier Pascal Gontier Posted: 09 Sep 2017 10:00 PM PDT  © Schnepp Renou
 © Schnepp Renou From the architect. The Max Weber building stands inside the vast Université de Paris Nanterre campus with its various concrete and metal buildings comprising a collection testifying to the history of French university architecture built since the 1960s. Located along the path running along the west side of the University campus, the site is adjacent to its entrance.  Master Plan The program required by the Université de Paris Nanterre grouping the various Social and Humane Sciences research laboratories in the same building.  © Schnepp Renou  Ground Floor Plan  © Schnepp Renou  First Floor Plan  © Schnepp Renou The design of the Max Weber building benefitted from the start from ambitious environmental goals and an in-depth questioning of the very nature of the offices that would be provided here to researchers and with the aim of proposing new architectural avenues of exploration.  © Hervé Abbadie  Details  © Schnepp Renou  This posting includes an audio/video/photo media file: Download Now |
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