Arch Daily |
- Monóvar Funeral Home / Estudio Arze
- Call for Entries: Pinocchio Children's Library
- Soma City HOME-FOR-ALL / Toyo Ito & Associates + Klein Dytham architecture
- Infinity House / GA design
- Space Popular Reignite the Concerns of "The Glass Chain" Letters By Way of Virtual Reality
- "Pirate Printers" Turn City Surfaces into Stamps to Create Unique Bags and Streetwear
- Ansião House / Bruno Dias Arquitectura
- How VR Is Helping Researchers Understand the Phenomenology Behind Light in Architecture
- Stunning Images of Stone Architecture: The Best Photos of the Week
- Centre Hospitalier de l'Université de Montréal / CannonDesign + NEUF architect(e)s
- KAAN Architecten Designs Glassy New Terminal for Amsterdam Airport Schiphol
- House No. 03 / ShaarOffice
| Monóvar Funeral Home / Estudio Arze Posted: 17 Sep 2017 10:00 PM PDT .jpg?1505447134 "Courtesy of Estudio Arze") Courtesy of Estudio Arze
.jpg?1505446853 "Courtesy of Estudio Arze") Courtesy of Estudio Arze From the architect. The Monóvar Funeral Home is located on a plot in the northeast part of the village. The plot, of approximately 6,000 square meters, has an irregular geometry limited in its south boundary by the road that gives access to the building, and in the north boundary by a natural slope. .jpg?1505446998 "Courtesy of Estudio Arze") Courtesy of Estudio Arze  Ground floor plan This slope was what made us open the holes on the east facade, strengthen the views of the open space, and locating in this part of the building, the common areas. This also made us rethink the building as part of the slope itself: a massive structure whose geometry and materials were integrated into the environment. .jpg?1505446890 "Courtesy of Estudio Arze") Courtesy of Estudio Arze The use of the brick, the lattice in facade, the interior courtyards and the indirect accesses reinforce the interior privacy of the building. .jpg?1505447106 "Courtesy of Estudio Arze") Courtesy of Estudio Arze The building, based on the previous conditions, is considered as two volumes displaced longitudinally between them, among which are rips and courtyards that enrich the interior spaces, provide natural light and break with the massiveness of the facade. The program of the building is structured in three main spaces: common areas, vigil-rooms, and spaces of service and administration. The building is developed on the ground floor, with heights of 7 and 5 meters. .jpg?1505447034 "Courtesy of Estudio Arze") Courtesy of Estudio Arze The chapel is the singular element of the project, which has a brick lattice on the south-west façade where the wall is dematerialized from bottom to top, referring to the process of death, which goes from the material to the ethereal, from the physical to the spiritual. This effect is strengthened at night, when from the exterior of the building you see the effect generated by the light coming out through these holes. .jpg?1505446951 "Courtesy of Estudio Arze") Courtesy of Estudio Arze  Sections 002 - 003 The second element we developed in the chapel is a defragmented ceiling. If in the whole Project the design is based on straight and perpendicular lines, perfect volumes and pure geometries, this ceiling appears as a rupture with this order starting a chaotic one. .jpg?1505446802 "Courtesy of Estudio Arze") Courtesy of Estudio Arze .jpg?1505447046 "Courtesy of Estudio Arze") Courtesy of Estudio Arze  This posting includes an audio/video/photo media file: Download Now |
| Call for Entries: Pinocchio Children's Library Posted: 17 Sep 2017 09:00 PM PDT  © Emmanuelle Moureaux Architecture + Design YAC – Young Architects Competitions – launches "Pinocchio Children's Library," an architectural competition to design a library dedicated to Pinocchio's Adventures and available to children and adults alike. The initiative is in cooperation with the Foundation Carlo Collodi and supported by the Council of Architects of Pistoia, the School of Fine Arts of Florence, Touring Club, ISI Florence, and Casabella magazine, and it is part of the wider project "Collodi European Capital of Culture". A cash prize of € 20,000 will be awarded to the winners selected by an internationally-renowned jury made by, among the others, Italo Rota, Fabio Novembre, Fedele Canosa (MECANOO Architecten), and Emmanuelle Moureaux. BriefIt is the fairy tale par-excellence. It is one of the stories that most influenced culture and international imaginary over the last two centuries: Pinocchio. The puppet destined to become a boy made adults and children of all generations dream. From Disney's interpretation to various film adaptations, the adventures of Pinocchio have traveled around the world. This tale comes from a remote and picturesque corner of Italy: Collodi. Thanks to the precious activity of the homonymous Foundation, Collodi is getting ready to inaugurate a new chapter of international notoriety and importance. In fact, 2018 will be a crucial year for the "Collodi Capitale Europea dell'Infanzia" (Collodi European Childhood Capital) project. It is an ambitious program by the Collodi Foundation and the Italian Government that will build—in the sites of the fairy tale—the largest theme park inspired by Pinocchio ever built. The 250,000-square-meter intervention will include installations, attractions and a library dedicated to all the fairy tales that made the childhood of dozens of generations magical (Alice, Peter Pan, Pinocchio, the Little Prince among others). In this context, YAC is delighted to present Pinocchio Children's Library. Through the collaboration of the Collodi Foundation, this competition gives designers the opportunity to create an unprecedented project. They are given the opportunity to design the first and largest children's library inspired by the fairy tale of Pinocchio. This library will have to be the image and the materialization of childhood dreams for millions of visitors who will visit the park. Which will be the house to safeguard the most important fairy tales in the world? How do you define a child-friendly space destined to be the most prestigious fairytale library at an international level? These are the questions that Pinocchio Children's Library asks designers. It invites them to go back to the magical horizon of fairy tales and stories. Only by letting the project taking them back to their childhood can designers rediscover the sense of wonder and fantasy necessary to design a refined place; a place built to play and have fun but above all grow up and learn. A place that displays the noble project of the Foundation: to build the future of society by nurturing the most powerful and endless childhood resource: imagination. Jury
Prizes
Calendar
More information on: www.youngarchitectscompetitions.com
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| Soma City HOME-FOR-ALL / Toyo Ito & Associates + Klein Dytham architecture Posted: 17 Sep 2017 07:00 PM PDT  © Koichi Torimura
 © Koichi Torimura From the architect. Klein Dytham architecture's Home-for-All project in Soma City, Japan was handed over to the local community on the 14th February 2015 with much love.  Plan The Home-for-All initiative was set up within months of the 11th March 2011, Tohoku earthquake and tsunami to build small community centres in the heart of the acres of temporary housing that were built to replace the 250,000 homes that were destroyed.  © Koichi Torimura To date, thanks to incredibly generous donations from Japan and all around the world, several Home-for-All buildings have been built. Conceived as a large straw hat held aloft by trees, this building is an indoor play space for children between the ages of 0-4 . These spaces are important due to the ongoing concerns about background radiation levels.  Section As the children cannot play outside, we felt the building should feel like they are playing in a park with trees. The cross laminated timber columns help reduce the span of the timber roof making it lighter and have been designed to resemble trees – complete with their own wild life! The roof is made up of 9 layers of timber slats. Each slat is continuous, the longest being 20m in length. The slats are laid over a formwork one layer at a time, with each successive layer rotated through 120 degrees.  © Koichi Torimura The project was made possible by donations from all over Japan through the T-Point card system and the generous in kind support by many construction material and equipment suppliers. All professional services for the project were provided pro-bono.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 17 Sep 2017 01:00 PM PDT  © Prashant Bhat
 © Prashant Bhat From the architect. Planned with a brief of maximizing views of the sea and enabling a nexus with the environment, the villa for a family of four has been conceived on a plot of land that is deeply contoured with a steep slope towards the valley. With stupendous views, where earth, water and the environment amalgamate to demonstrate nature's phenomenon, the villa has been planned with most of the rooms optimizing the views. The natural site contours have been used effectively while exploiting the views of the mountains to create an infinity swimming pool, that manifests itself as the core of the villa. The area under the pool serves as a leisure zone of the house, the more semi-public zone where games and an entertainment area are functionally located, while opening out into a lush green garden.  © Prashant Bhat Molded with simplistic zonal principles of home design, the more public zones of the house such as the living area, guest room, kitchen, common guest room and the spa and Jacuzzi are all located on the ground floor. The first floor has 3 bedrooms, while the lower ground houses the entertainment and games area. The rooms on the ground floor and the first are all connected by a linear passage on the horizontal axis, which becomes the core of the spatial planning, driving the layout and the volumes of the built form. A glass and wooden screen separates the living room on one side and has 40 feet opening on the other facing the valley, creating panoramic views for the more public zone of the house. The language of the furniture here follows a modern palette with leather furniture, travertine marble table tops and a blue granite dining table top. An interesting exotic Brazilian granite forms a feature wall in the living room. The master bedroom has a 13 feet cantilever projecting out which provides shade to the outdoor sitting beneath.  © Prashant Bhat On the first floor, the Master Bedroom is cantilevered partially over the swimming pool below and exploits the best views. Conceived as a cantilevered block enclosed by a portal, which is interlocked with the living room extending beyond it, the volume enables the dynamism of the overall design. The interlocking of the three geometries creates an energetic design form, that further enhances the vigorous aesthetic. The son's Room is a stark minimalistic combination of a patterned concrete wall, wooden floor and a large bed 7' x 7' with a satvario marble backrest. 2 sides of the bedroom have 11' high windows opening out on a huge deck of 6' to 15' in depth, with lush green trees surrounding the bedroom. The daughter's room opens out on a huge balcony which is open to sky and has a scenic corner view of the scenic Khandala valley. A painting forms part of the ceiling design, while the rest of the bedroom is simple with a leather platform bed. A bathroom sits next to this bedroom. It flaunts a free-standing bathtub, a wardrobe and a chaise lounge. Such luxury of size and aesthetics could only be achieved in the countryside, away from Mumbai.  © Prashant Bhat Keeping in mind that Khandala is an area of heavy rainfall, the construction is essentially done in brick and concrete. The walls are 9 inches thick to protect the building from heavy rainfall. Large overhangs which also serve as decks protect the inner walls of the house from the heavy rains and the sharp sun during summers. A Flat slab construction technique has ensued the seamless aesthetic, which further augments the openness and results in a visual connect with the outside greens.  © Prashant Bhat The design language of the villa is modern contemporary. Both the exterior and interior walls are draped in white color. The flooring is finished in white lhasa marble. The whiteness of the villa on the inside and the seamless slabs without beams create a beautiful visual contrast and blur the boundaries of the inside with the lush green garden and foliage of the outside landscape. The beauty of the villa is the infinity pool which creates a breathtaking vista from the living area. An alluring view of the mountains is framed with a large portal thirty feet in height which partially covers the outdoor seating.  Section  © Prashant Bhat A white marble staircase with indirect LED lights under the risers of the staircase leads to the lower ground entertainment area. The walls are of concrete with one wall in bold red. The area under the swimming pool is dropped and is treated as the theatre. Raw wood center tables, quirky artefacts and a card table along, a pool table with a bar made of black marble form a vibrant entertainment area are some of the illustrious pieces of artwork.  © Prashant Bhat  This posting includes an audio/video/photo media file: Download Now |
| Space Popular Reignite the Concerns of "The Glass Chain" Letters By Way of Virtual Reality Posted: 17 Sep 2017 09:45 AM PDT "The Glass Chain" (Die Gläserne Kette in its native German) was an exchange of written letters initiated by Bruno Taut in November 1919. The correspondence lasted only a year, and included the likes of Walter Gropius, Hans Scharoun, and Paul Gösch. In the letters, the penfriends—thirteen in all—speculated and fantasized about the possibilities of glass, imagining, in the words of Fredrik Hellberg and Lara Lesmes (Space Popular), "fluid and organic glass follies and colourful crystal cathedrals covering entire mountain chains and even reaching into space."  © Ben Blossom Almost a century since the correspondence ceased, Space Popular (SPOP) have sought to reignite the conversation by way of an exhibition of installations at London's Sto Werkstatt. As early Modernism took hold, glass "became a peripheral material of windows and walls," the practice argue. In their installation they have, according to Sto, picked up the mantle to "wrest glass from its Modernist confines, and set it free." SPOP have, at the same time, sought to utilize the possibilities of Virtual Reality in designing and experiencing architecture.  © Ben Blossom Working with StoVentec Glass and briefed by the commissioners to "redefine the limitations of the material", SPOP have designed and constructed a bright, bold, highly colorful totem and, in so doing, exploring differing ranges of scale, "playing with our visual perception of glass doorways as grand arches and small steps as giant pediments." According to Sto, the practice teamed up with "technical experts to realise a kaleidoscopic glass construction that uses glass to enhance, alter and question human perception of space." The Glass Chain is on display at Sto Werkstatt (London) until September 29 2017.  © Ben Blossom  © Ben Blossom  © Ben Blossom  This posting includes an audio/video/photo media file: Download Now |
| "Pirate Printers" Turn City Surfaces into Stamps to Create Unique Bags and Streetwear Posted: 17 Sep 2017 09:00 AM PDT  <a href='http://raubdruckerin.de/'></a>via Raubdruckerin Raubdruckerin – German for pirate printers – have been traveling around Europe turning city streets into printing presses to develop a range of t-shirts, hoodies and bags. The result is fashion not just for the street but from the street. Taking inspiration from the urban landscape and the often over-looked surfaces of the city, Raubdrucken apply their eco-friendly ink to man-hole covers, grids and patterned streetscapes and relief-print the outcome directly on to the fabric of their line. It is proof that everything can be inspiration for good design, and that beauty and richness can be found in the mundane, the utilitarian or perhaps in this case, the misunderstood.  <a href='http://raubdruckerin.de/'></a><a href='http://https://raubdruckerin.de/'></a>via Raubdruckerin Founder Emma-France Raff has been experimenting with the urban printing press since 2006, when she started the project with her father Johannes Kohlrusch. Her team has since grown and expanded from Lisbon to their current base in Berlin. Sustainability is a key component of their project, as they employ a manual process that aims to offer an alternative perspective to mass production. The procedure takes place on the street in the public eye and is dependent on weather, the time of day and the interest of people passing. This humanizes the project and puts a focus on the idea of exchange – exchange with the city, exchange with the street and exchange with locals and the community. The exchange becomes literal when they run regular "street-printing" workshops that anyone can attend.  <a href='http://raubdruckerin.de/'></a><a href='http://https://raubdruckerin.de/'></a>via Raubdruckerin  <a href='http://raubdruckerin.de/'></a>via Raubdruckerin Raubdruckerin say their main motivations are "to stimulate our perception regarding the relationship to our surrounding, refine everyday routines, as well as being sensitive to the beauty hidden in the unexpected."  <a href='http://raubdruckerin.de/'></a>via Raubdruckerin In some ways, it is like a mapping exercise, a way of documenting a path around a city, which can then be carried around and displayed, something like a clothing tattoo. It questions the relationship between hard and soft, when the usually rigid, gritty urban condition becomes fluid, move-able and sculpted by the shape of a body, or the contents of a bag. This kind of urban-rogue approach to design offers a creative and unique way to interpret a city and a challenge to normative modes of inspiration and production. In any case, it's fair to say that man-hole covers have never looked so good. News via: Raubdruckerin  This posting includes an audio/video/photo media file: Download Now |
| Ansião House / Bruno Dias Arquitectura Posted: 17 Sep 2017 06:00 AM PDT  © Hugo Santos Silva
 © Hugo Santos Silva From the architect. Within the historic town centre of Ansião, an existing house of some historical value presents itself on the front of the development area. Our sight meets two distant architectures, separated not only by time, but also by the difference in its building approach. A symbiosis was sought between them, by respecting the existing house. This relationship was born so naturally that one is led to think that one could not exist without the other.  © Hugo Santos Silva  Concept  © Hugo Santos Silva The terrain is delimited by adjoining walls and buildings. As such, the option was to create an inner yard, towards which all sections draw, assigning the house with an intimate character, living within, ensuring privacy. Therefore, the footprint was based not only of the local features, but also on the golden ratio. The rationale was that the human body is the most remarkable and obvious illustration of the golden ratio, and the human presence is the essential element in the definition of the house.  © Hugo Santos Silva The quest for warmer colours and materials inside provides greater spatial comfort. Outside, setting off from pre-existing materials, the profile of the original house is highlighted and the same language kept in the new volume, thus providing a unified and uniform character to the entire intervention.  © Hugo Santos Silva  This posting includes an audio/video/photo media file: Download Now |
| How VR Is Helping Researchers Understand the Phenomenology Behind Light in Architecture Posted: 17 Sep 2017 05:30 AM PDT "How shall we hew the sun / Split it and make blocks / To build a ruddy palace?" wondered Wallace Stevens in his 1918 poem Architecture for the Adoration of Beauty. Inspired by the verse, in his essay The Room, the Street and Human Agreement, Louis Kahn paraphrased "What slice of the sun enters your room?" The great architect also spent his entire career experimenting with those dual protagonists: light and shadow. Kahn's obsession with light, and in particular the architectural control of it, influenced countless architects, including Peter Zumthor and Tadao Ando. Kynthia Chamilothori shares that fascination. A 2014 Architectural Engineering graduate from the Technical University of Crete, where she received the Limmat Stiftung Excellence Award, and current PhD candidate in the Laboratory of Integrated Performance In Design (LIPID) in EPFL, Chamilothori's research diploma project focuses on how the patterns of light and shadow shape the way we perceive architectural spaces. But, while Kahn and other architects throughout history have relied on little more than intuition, Chamilothori is using far more scientific methods, working with a tool that wasn't available to the great masters: virtual reality.  Demonstration at the EPFL ENAC Research Day 2017. Kynthia Chamilothori attaches a VR headset to a participant. Image © Alain Herzog / EPFL Thus far, the most visible uses of VR in architecture have been in the communication between architect and client, with many clients finding such immersive demonstrations a huge improvement in understanding their architects' design intent. But Chamilothori's studies work somewhat differently—while designers create VR experiences to transfer information to their client about the design, for Chamilothori the key information is the unconscious feedback that test subjects provide during their VR experience. One of her recent investigations, on which she has been working with her colleague Dr Siobhan Rockcastle, consists of monitoring participants' head movements in scenes with different architectural and daylight characteristics and looking for patterns. "It raises a series of interesting questions," she explains. "what part of the field of view did the participants spend the most time exploring? Does this behavior differ between spaces, or between scenes with diffuse light or sunlight patches in the same space? Are there common traits in the most often explored areas of the scene? Does the behavior suggest attraction or avoidance towards particular features of the architectural space, such as the contrast or the light distribution in the scene?" All of these questions, in the end, serve to answer one overriding concern: "Does the behavior suggest attraction or avoidance towards particular features of the architectural space, such as the details, the contrast or the light distribution in the scene?" And head tracking isn't the only feedback mechanism that can be investigated with VR. In another study, conducted by Chamilothori in collaboration with Giorgia Chinazzo, the researchers aim to get a greater understanding of facade design by tracking test subjects' physiological feedback, focusing on responses that have been linked to a person's emotional state, such as skin conductance. She hopes that "the outcome of this study will further our knowledge on how the built environment affects the human body and mind."  A first step in using VR for experiments was to compare the perception of people in a real environment and in its virtual representation. Here we see a participant in the real space (left), while they are immersed in VR and explore the same scene, this time simulated in the virtual environment (right). Image © Kynthia Chamilothori / LIPID lab Despite her extensive work with VR in her research, when it comes to design Chamilothori is no technological evangelist. She believes that VR is best used at a later stage in the design process: "In the initial design stage, I like the idea of using models or sketches with rough shapes and lines that have an inherent lack of precision. They allow for a multitude of interpretations and assist the creative process of design exploration." The idea is that VR should support, not replace, the architect's intuition.  Demonstration at the EPFL ENAC Research Day 2017. Participant exploring immersive scenes produced in collaboration with Dr Siobhan Rockcastle. Image © Alain Herzog / EPFL Chamilothori's ultimate goal is to help architecture develop beyond the purely visual into something more phenomenological. She's particularly excited to see what the future holds for VR, and what new ways of measuring physiological feedback could do for our understanding of design. "I think that tactility and thermal sensation could immensely deepen the feeling of presence in the virtual environment. Imagine if you could trace different materials with your fingers, feel the warmth of sunlight patches or the temperature difference as you explore a sequence of spaces! And at the same time monitor people's physiological responses, from brain activity or skin conductance to gaze. That could greatly advance our understanding of how architecture influences human perception and behavior." This article was written by Thomas Musca with contributions by Rory Stott.  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| Stunning Images of Stone Architecture: The Best Photos of the Week Posted: 17 Sep 2017 05:00 AM PDT
Stone construction is a simple technique that has been used since the earliest human civilizations. These days, stone is regaining popularity in contemporary architecture thanks to the diversity of results that can be achieved by the union of stone pieces. Whether it's the size, the type of cut, or the color of the material, the truth is that the use of stone can add incredible textures to architectural designs. Read on for a selection of 13 photos that allow us to marvel at stone's beauty and expressiveness, created by renowned photographers such as Erieta Attali, Kyungsub Shin and Dimitris Kleanthis. Dimitris KleanthisRocksplit House / Cometa Architects © Dimitris Kleanthis Kyungsub ShinThe Layers / OBBA © Kyungsub Shin Dimitris KleanthisRocksplit House / Cometa Architects © Dimitris Kleanthis Kyungsub ShinThe Layers / OBBA © Kyungsub Shin JAG StudioStone House / Inai Arquitectura © JAG Studio Robert LešCountry House / DVA ARHITEKTA © Robert Leš Emily AndrewsWanaka Lodge / Pattersons © Emily Andrews Erieta AttaliRodia Stone House / Nikos Smyrlis Architect © Erieta Attali Kyungsub ShinThe Layers / OBBAChristopher Frederick JonesRocky House / Base Architecture © Christopher Frederick Jones Bruno HelblingHouse Z22 and Warehouse F88 / Gus Wüstemann Architects © Bruno Helbling Alvise RaimondiESSE House / ellevuelle architetti © Alvise Raimondi Simon DevittLocal Rock House / Pattersons © Simon Devitt  This posting includes an audio/video/photo media file: Download Now |
| Centre Hospitalier de l'Université de Montréal / CannonDesign + NEUF architect(e)s Posted: 17 Sep 2017 02:00 AM PDT  Courtesy of CannonDesign + NEUF architect(e)s
 Courtesy of CannonDesign + NEUF architect(e)s From the architect. After nearly a decade of work, CannonDesign + NEUF architect(e)s are pleased to announce the completion of Phase 1 of the Centre hospitalier de l'Université de Montréal (CHUM). Begun in 2009, the CHUM teaching institution is the largest healthcare construction project in North America and the largest public–private partnership project in Canadian history. Already, the building has ignited the revitalization of a neglected sector of Montreal's urban core.  Courtesy of CannonDesign + NEUF architect(e)s Accelerating public access Initially structured as a two-phased project, the team reconfigured the indicative design of the campus arrangement and architecture in order to accelerate development significantly. As a result, Phase I, now complete, delivers the hospital's core healthcare capabilities, including all patient rooms, all operating theatres, diagnostic and therapeutics, as well as the Oncology program, leaving only offices, a conference center, a few ambulatory spaces, and additional parking for Phase 2. This allows the Quebec population to benefit from the much-needed state-of-the-art healthcare infrastructure years sooner than originally anticipated.  Courtesy of CannonDesign + NEUF architect(e)s  Courtesy of CannonDesign + NEUF architect(e)s Human inspiration With social infrastructure and urban renewal as integral components to its design, the 22-storey complex, spanning over 3 million square feet and encompassing two full city blocks, will play an important role in regenerating the neglected East-end of Montreal's downtown core, reconnecting the city's urban fabric and anchoring the Quartier de la Santé, Montreal's new healthcare district. In addressing the totality of that task, the design team approached the project from all scales, including the large-scale urban element, the local neighbourhood context, and the fine grain of a human component, central to its vocation as a place of healing.  Courtesy of CannonDesign + NEUF architect(e)s "Walking through the completed spaces today, there is a spatial quality that has exceeded our expectations," explains Azad Chichmanian, partner and architect with NEUF architect(e)s. "As the public finally begins to discover the architectural moments that have been created, from the near museum-like public spaces to the state-of-the-art clinical facilities, we believe the building will succeed in completely redefining Montrealers' image of what a hospital feels like."  Courtesy of CannonDesign + NEUF architect(e)s  Diagram  Courtesy of CannonDesign + NEUF architect(e)s Throughout the design process, the team continually pushed the envelope for quality of design, whether in its use of parametric design on the building envelope, the use of 3D-printed models in coordination, an innovative approach to the integration of heritage components, and an intense use of technology to facilitate communication between team members from across the globe.  Courtesy of CannonDesign + NEUF architect(e)s From a healthcare delivery perspective, each of the 772 rooms includes ample space for family involvement, and expansive windows offering some of the best views of the city. Importantly, the entire building is designed following universal design principles, and impressively, the vast majority of the 12,000+ rooms in the building were designed following a small number of standardized room templates. "The creation of such an incredible healthcare facility required our design team to look at the project from numerous perspectives, but we leveraged our health expertise to always keep patient experience at the forefront." added Silva.  Courtesy of CannonDesign + NEUF architect(e)s Art at the heart of the architecture Going well beyond the Quebec government's requirement of dedicating a minimum of 1% of a public development's budget to the integration of art, the new CHUM campus will have 13 large-scale works of art incorporated into the design and ultimately house the highest concentration of public art in Montreal since Expo 67.  Courtesy of CannonDesign + NEUF architect(e)s  Diagram  Courtesy of CannonDesign + NEUF architect(e)s "We have integrated the art directly into the architecture of the complex in ways that blur the lines between the two and provides a more human experience to the visitor and staff." explains Chichmanian. "In fact, many components of the buildings themselves can be considered as works of art, including the amphitheater, the reconstructed steeple, Maison Garth and the Space of Contemplation - forming a series of architectural objects animating Saint-Denis Street. Perhaps the best example is the passerelle, an aerial bridge now spanning across Sanguinet street with its translucent arch emerging from the perforations of the copper shroud enveloping it."  Courtesy of CannonDesign + NEUF architect(e)s  This posting includes an audio/video/photo media file: Download Now |
| KAAN Architecten Designs Glassy New Terminal for Amsterdam Airport Schiphol Posted: 17 Sep 2017 01:00 AM PDT  © Filippo Bolognese Netherlands-based architectural firm KAAN Architecten, in partnership with ABT, Estudio Lamela and Ineco has been selected to design the new Amsterdam Airport Schiphol Terminal, with the help of Arnout Meijer Studio, DGMR and Planeground. Soon to be located south of Schiphol Plaza, at Jan Dellaert Plein, the new 100,500-square-metre terminal will implement futuristic and sustainable design trends. KAAN Architecten's terminal design takes into account functionality and urban integration through architectural clarity and spatial openness. The new terminal will account for 14 million passengers, in addition to the 50 million the existing airport currently welcomes per year. Proximity to the plaza, train, and the potential for future expansions were the fundamental drivers for the spatial organization and facade design by KAAN. "The most inspiring architectural and planning DNA at Schiphol is that of De Weger and Duintjer's 1967 Departures Hall, with interior design by Kho Liang Ie Associates, which is characterized by abundant daylight, simplicity of space, and an impressive spatiality," the design team says. The existing Schiphol Airport began as a military airbase nearly 100 years ago. However, now that it operates as an international airport, connectivity and urban integration are top design priorities. The use of glass will give passengers a clear understanding of their surroundings in and outside the terminal. A raised plateau in the heart of the building will house check-in and baggage claim. When passengers arrive at check-in, they will enter this high-ceiling space with panoramic views of the entrance hall complemented by overhead latticework that will encase the Dutch sky. Departing passengers will utilize the prominent reception hall that overlaps the raised plateau. Wood flooring and greenery placed under light wells will reveal the designs sustainable attributes. The design team strived for serenity, unity, and the building blocks for future extensions by utilizing structural modularity and a repetitive rhythm. Columns in the facade and facility areas support the 180-by-150 meter roof, which defines the design with its overhangs and black eaves. The new terminal is scheduled to be completed by 2023. News via KAAN Architecten.
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| Posted: 16 Sep 2017 10:00 PM PDT .jpg?1505343555 "© Parham Taghioff") © Parham Taghioff
.jpg?1505343827 "© Parham Taghioff") © Parham Taghioff From the architect. Chamran green boulevard, surrounded by Qasrodasht gardens is situated in the middle of Shiraz. The site plan of the project is located in one of the most beautiful sidestreets of the region, called Behesht (Paradise). In case of all gardens in the alley remained intact, just 6 spots were permitted to be constructed as garden house. Among these 6 spots, we had one with 750 Sq.m. Unfortunately, there were just few trees remaining in the site due the lack of effort by the previous landlord and the cut off the water supply. Our focus during the positioning of the building in the site was to maintain the existing trees; harmonization of the building with the landscape surrounding was the prominent vision of the project. .jpg?1505343701 "© Parham Taghioff") © Parham Taghioff The owner has a small family, but they are usually hosts due to the close ties with their friends and relatives. We organized an initial meeting with the family members which resulted in creating a physical program on the basis of their various needs. So, the priority of the design is specified as to create a high variety of interior and exterior spaces. .jpg?1505343446 "Diagram 001") Diagram 001 The building designed in 3 levels; basement, ground floor and first floor with regards to the building height limitation to 8.5 meters and the various spaces the client specified. The placement plan of the project is as follows: On the basement floor there is a pool, one master bedroom, living room for catering, warehouse and a caretaker's room (with yard access). On the ground floor, there is a guest room, kitchen, dining room, seating room and a main living room and First floor of the building contains, three bedrooms, a private seating room and a small workspace. Most of the single-unit house projects we have done before were usually designed as a vacation house, but "House Number 3" was built with the intent of comfortable human habitation. .jpg?1505343476 "© Parham Taghioff") © Parham Taghioff In addition to creating spatial diversity we placed windows and openings so that during the day natural light provides effective internal light. Furthermore, the main consideration in this design was to connecting both the interior and exterior in an open plan while preserving the visual connectivity. A central skylight provides additional light to the dark spaces while permitting a central green space within the core of the house. A retractable roof was considered for the central courtyard for natural ventilation in the interior and to allow the efficient airflow throughout the building. .jpg?1505343770 "© Parham Taghioff") © Parham Taghioff The floors are connected with one elevator, while the stairs wrap around the void creating magnificent views throughout the house; it means vertical connection between floors take place in different spots by distinct visual experience and spatial quality. By adding natural woods and white color we created a sense of warmth while achieving a classic look that's cozy and inviting. we tried minimal designing while responding to needs, fewer visual disturbances happen. The color and texture of the elements were selected in the way despite the multiplicity of spaces. .jpg?1505343343 "Diagram 002") Diagram 002 Two important concerns throughout the landscape design were eliminating the neighborhood's sight and supplying the underground light. Hence, a breakfast space with direct access to the kitchen and no visibility from surrounding is considered in the backyard accompanied with old trees that provide a pleasant atmosphere. A Sunken Courtyard is located at the back of the building with direct access to the pool, providing some light for the basement and a pleasant green space in front of the pool for the residents. The Pool also has a ceiling light to create an eye-catching play of light and shadow on the water. .jpg?1505343690 "© Parham Taghioff") © Parham Taghioff Green spaces and easy access to the entrance of the house was considered while designing the landscape of the front yard, here a cozy sitting place around a fire pit is designed creating an outdoor gathering space. The steel structure house has been completed with a central cooling and heating system within an underfloor heating system running through the main living room and the swimming pool. .jpg?1505343610 "© Parham Taghioff") © Parham Taghioff  This posting includes an audio/video/photo media file: Download Now |
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