Arch Daily |
- Trumpf Smart Factory Chicago / Barkow Leibinger
- Office Building "Bertha Berlin" / Barkow Leibinger
- Ice Sports Center of the 13th China National Winter Games / Architectural Design and Research Institute of Harbin Institute of Technology
- Xinchang Village's Central Kindergarten / Atelier Deshaus
- Cilandak Stackhouse / Atelier Riri
- Victims of Nanjing Massacre Memorial Hall / Architectural Design & Research Institute of South China University of Technology
- The Chisca on Main / Bounds and Gillespie Architects + Looney Ricks Kiss
- Naos Business Campus / Arquitectura en Estudio
- Morpholio's New AR Feature Makes Perspective Sketching Easier—And More Accurate—Than Ever Before
- VE GRANDE Headquarters / Punto Arquitectónico + VE GRANDE
- Vincent Callebaut Envisions Shell-Inspired Eco-Tourism Resort in The Philippines
- Schmidt Hammer Lassen Breaks Ground on Glass Box Headquarters of Creative Incubator in China
- SEP House / MMA Studio
- 3 Reasons Why Excel is the Ultimate BIM Sidekick
- Red House / extrastudio
- The Ambitious Project that Brings Together 44 Mexican and International Architects
- Siena House / Guillem Carrera
| Trumpf Smart Factory Chicago / Barkow Leibinger Posted: 19 Sep 2017 10:00 PM PDT  © Steve Hall © Hall + Merrick Photographers
 © Steve Hall © Hall + Merrick Photographers  Site Overview From the architect. The factory and the exhibition space – ordinarily, these two project types would lie worlds apart for an architect. With one, functionality and cost-efficiency reign; with the other, the highest demands are placed on design and quality of execution. A new presentation and sales center for the German machine tool and laser manufacturer TRUMPF near Chicago combines both worlds and turns high-tech machines and innovative production processes into exhibition-like showpieces. Here, an Industry 4.0 demonstration factory fitted with digitally networked machines presents the entire sheet metal process chain, from ordering a sheet metal part to its design, production, and delivery, experienced as an intelligently interlinked, holistic process.  © Steve Hall © Hall + Merrick Photographers  Second Floor Plan Choosing a location for the new "Smart Factory" largely centered around a consideration of infrastructural conditions: the site is prominently located on Interstate 90 near Chicago O'Hare International Airport. Against the backdrop of the surrounding industrial zones, its immediate setting appears almost idyllic: organized into two large volumes, the building gently slopes back towards a large retention pond, a reservoir within the wetlands surrounded by lawns.  © Steve Hall © Hall + Merrick Photographers  Section A  Section B The architecture also surprises: with a robust and elegant steel-glass construction with Corten steel cladding, it connects the suburban "strip" – characterized by fast food culture, shopping centers, and gas stations – with the design language of local campus and industrial buildings by Albert Kahn and Ludwig Mies van der Rohe. Here, the history of the "Rust Belt" as the oldest and largest industrial region in the USA is brought together with computer-controlled high-tech production; functionality meets representation, and pragmatism meets refinement.  © Steve Hall © Hall + Merrick Photographers The structure's two volumes – the showroom to the south, and the Smart Factory 's office, café and auditorium space to the north – are connected at their corners and create two rectangular exterior zones. With a height ranging from 4,5 to about 13 m, the building integrates itself into its environment, a natural grassland with loose groupings of trees. Via its continuous pitched roof, it rises like a wedge towards the highway, where the showroom's 12-meter-high billboard-like glass front presents itself to passing traffic.  © Steve Hall © Hall + Merrick Photographers The showroom is spanned by eleven customized, laser-cut steel trusses, approximately 45 m long. Visitors are given a special overview via an open "skywalk", a bridge that runs through the ceiling structure, thus enabling one to perceive the filigree "structure as space".  © Steve Hall © Hall + Merrick Photographers The building's exterior, with its rough cladding of deep rust-colored corrugated Corten steel sheeting and its elegant, floor-to-ceiling glazing, emphasizes both its industrial context and its representative function. Inside the building, raw, industrial materials with refined surfaces establish a warm, almost homey atmosphere. The construction of black steel, polished concrete floors, expanded metal mesh panels and charred wood walls characterize spaces where industrial production and exhibition are coherently integrated.  West Elevation  South Elevation  This posting includes an audio/video/photo media file: Download Now |
| Office Building "Bertha Berlin" / Barkow Leibinger Posted: 19 Sep 2017 08:00 PM PDT  © Corinne Rose
 © Stefan Müller From the architect. A nine-story office building of 25,000 m2 is completed on Bertha-Benz-Straße as a fourth and final component of the "Lehrter Stadtquartier", directly south-west of Berlin's main railway station. The building is in direct dialog with the three other volumes of the ensemble, for which clear master planning directives were given in terms of the buildings' volume, height, and materiality.  Site Plan The design guidelines for the quarter were refined in 2006 following an urban development competition via the office Auer + Weber + Assoziierte, designed as a further continuation of the existing development plan: Oswald Mathias Ungers' 1994 urban master plan for Humboldthafen, which isolates the railway station while sectioning off the adjacent area to the west into 7 plots based on the traditional Berlin block structure.  © Stefan Müller In addition to stipulations for a uniform building height and façades clad in light-colored stone, the design guidelines call for surface folding that modulates in response to one another on the inner-facing façades of the ensemble. Thus, the building has a "static" appearance towards the city on the outer-facing south and west sides, while the two façades toward the center of the quadrant dynamically undulate. In doing so, three horizontal bands - base, body and top floor - are articulated.  © Stefan Müller  Ground Floor Plan  © Stefan Müller To compensate for the sloping terrain of the property, the building, which is organized around a central courtyard, is one story higher than the 3 neighboring building volumes. It is accessed via two main entrances on different levels – one towards the north on Berta-Benz-Straße and a higher, second entrance at the street Alt-Moabit towards the south. With their generous heights, these two levels offer space for two lobbies, several retail spaces, and a dining area, where a covered terrace opens up towards ULAP-Park to the west.  © Corinne Rose Parking spaces have been created in the areas on the base level that shift underground due to the slope of the site, joined by additional sub-level parking. Seven floors of offices rise above the ground level, cantilevering out slightly around the building and varying in depth. Here, three infrastructural cores allow for a floor plan that can be flexibly divided into up to six units per floor, allowing for a versatile range of possibilities from individual offices to open-plan areas. On the top floor setbacks on the north and east side create covered terraces with views over the city, the Chancellery, and the river Spree.  © Stefan Müller With its dynamic façade made of "Sellenberger Muschelkalk", a light-colored natural stone, the building fits into the material and color spectrum of the ensemble. While shell limestone is a material rooted in the Berlin building tradition, its unconventional use here gives it an individual, memorable appearance: narrow vertical fins, only 8-cm wide and with a spacing of 67.5 cm, cover the building with a light, elegant curtain wall. Varying in depth, the fins stagger over 3 divisions per floor height, therein forming an incremental gradient like a fabric cladding.  © Corinne Rose  This posting includes an audio/video/photo media file: Download Now |
| Posted: 19 Sep 2017 07:00 PM PDT  © Wei Shuxiang
 © Wei Shuxiang From the architect. The functional layout design is mainly based on the rational organization of events and the environment space shaping during and after events to provide athletes and citizens with diverse activity spaces, two main entrances provided on the north and south sides of the base, three main venues, i.e. the speed skating gym, the ice hockey hall and the curling hall arranged close to the entrance to facilitate event organization and people evacuation, the athlete apartment and the media center, etc. that provide service for sport events arranged on the side far from the city road, the three venues and the medium center showing a ring-shaped layout, like snow lotus in blossom.  © Wei Shuxiang Design and Technology Innovation We draw design inspiration from such characteristic features as snow-capped mountains and Gobi unique to Xinjiang, with pure white roofing to outline the shape intention of a natural snow cap, horizontal lines that go through layered processing to simulate the unique rock formations of Gobi, the simulated snowflake crystal on the glass to echo the geographical features of Xinjiang. The whole building complex is like being tucked in the snow white, with the facade image decent, elegant and resourceful, in good harmony with the environment, realizing the artistic conception of "Snow Town for National Games at the Foot of Tianshan Mountain".  © Wei Shuxiang The ice surfaces in all venues involved in the project shall meet the requirements in the latest competition rules 2010 of ISU, with standard tracks with a perimeter of 400 meters used in the speed skating gym, 70m*40m venue used in the ice hockey hall, able to be used for such events as ice hockey, short-track speed skating and figure skating, a 50m*26m practice field arranged on the same floor to provide athletes with warm-up ice surface before the event; the venue size of the curling hall shall be based on the size of an ice hockey venue to meet the requirements of variety of ice sports.  Speed Skating Museum 1st Floor Plan Project Value and Social Impact Northeast Based on the location and future function positioning of the base involved in the project, the basic positioning of a sports park is adopted in the design, which can not only meet the requirements of professional sports events but also provide a supporting high-level training base for professional sports teams and provide a new urban tourist destination integrating sports, entertainment, catering, accommodation and shopping after events, with consideration given to both winter and summer seasons. Based on this positioning, inspiration drawn from the unique regional landscapes and traditional culture of Xinjiang, closely centering upon the ice and snow theme, a "Silk, Road, Flower, Valley" design concept is put forward to show the splendid culture and spectacular scenery of Xinjiang.  © Wei Shuxiang  © Wei Shuxiang We draw design inspiration from such characteristic features as snow-capped mountains and Gobi unique to Xinjiang, with pure white roofing to outline the shape intention of a natural snow cap, horizontal lines that go through layered processing to simulate the unique rock formations of Gobi, the simulated snowflake crystal on the glass to echo the geographical features of Xinjiang. The whole building complex is like being tucked in the snow white, with the facade image decent, elegant and resourceful, in good harmony with the environment, realizing the artistic conception of "Snow Town for National Games at the Foot of Tianshan Mountain"  Master Plan  This posting includes an audio/video/photo media file: Download Now |
| Xinchang Village's Central Kindergarten / Atelier Deshaus Posted: 19 Sep 2017 03:00 PM PDT  © Su Shengliang
 © Su Shengliang From the architect. Xinchang village's kindergarten is one of more than ten kindergartens that Open Foundation has donated to the disaster area of 2013 Lushan earthquake. Surrounded by mountains, the site is a relatively small platform in the northwest of the village. It faces a mountain gap to the west, so that people can still sense the faraway from here. The surrounding settlements, while providing shelters to the inhabitants, confronts subtly the nature that dominates.  © Su Shengliang  Axonometric  © Su Shengliang The entire kindergarten is conceived as a "village". The total volume of one thousand five hundred square meters is decomposed into nine isolated "cottages" according to the programs. They are placed on the north, south and east sides of the site to enclose a U-shape courtyard facing west. The courtyard pavings and the building facades adopt locally-produced shale sintering bricks, endowing the place with a strong sense of artificiality. Hence, on the one hand, the design stands apart from the nature; on the other hand, it forms an inseparable ensemble with the sky, the platform, the nearby villages and the further mountain gap.  © Su Shengliang The sense of dimensions is specific there spatially and temporally. The manifestation of nature is controlled to be deeply related to the development and transformations of the site. The inner courtyard is the centre of the kindergarten, and also the kernel of the sense of directions and identities. The design also took serious considerations of children's mental and physical characteristics, making efforts to realize the diversity and capability of playfulness in the spatial typologies. Because Ya'an area rains a lot, the unit buildings of the kindergarten and the main entrance are connected by a circuitous veranda. This veranda adapts the level difference of the site. Cooperating with the ramp and stairs, it creates an intimate layer between the courtyard and the architecture and provides more possibilities for the children's daily activities.  © Su Shengliang  Ground Plan  © Su Shengliang Xinchang village's kindergarten is neither a design to explore the rustic originality in western Sichuan, nor an attempt for countryside utopia. Out of respect to investment constraints and conformation to local construction procedures and capabilities, the architects tried hard not only to meet the programmatic requirements but also incorporate self-adaptation into the new architecture, in order to fit in the homy atmosphere in western Sichuan's villages, as well as some sort of autonomy.  © Su Shengliang  This posting includes an audio/video/photo media file: Download Now |
| Cilandak Stackhouse / Atelier Riri Posted: 19 Sep 2017 01:00 PM PDT .jpg?1505268035 "© William Sutanto") © William Sutanto
.jpg?1505268149 "© William Sutanto") © William Sutanto From the architect. Stackhouse. Sometimes changing the form can be done before planning the space, because each space is usually created over form and activities therein. Space is created because of the form; in order for all the residential activities are covered. Indeed, it is because we live in space, not due to form. It all started from searching for formation character based on mass composition, until the building identity is generated eventually. Space flow accommodates activities flow that gives various surprises. The space definition is freed to the owners so they can adapt to their house. .jpg?1505267996 "© William Sutanto") © William Sutanto  Plan type B 001 - Third floor plan .jpg?1505268068 "© William Sutanto") © William Sutanto In one compound environment, there are four houses built. There is a compound environment existing in South Jakarta that has four beautifully composed mass formation which creates a contemporary living space. .jpg?1505268007 "© William Sutanto") © William Sutanto  Section A-6 .jpg?1505268043 "© William Sutanto") © William Sutanto It is called Stackhouse. It is clear that the result of this composition is stacked mass. Each mass is given a different identity; so that every visual corner has many different stories, so that every atmosphere has different expressions. The mass identity is stressed by materials represent its function and beauty. .jpg?1505268128 "© William Sutanto") © William Sutanto In order for this house to have a contemporary identity, we consider synthetic rattan as one of the decorative elements that accommodate the functionality as well as the aesthetics.We look for a personalized weaving method as second layer to insert the natural air and also to reduce the sun heat at once. We choose rattan character and we make it as binder of the story that merges function and form together. .jpg?1505268028 "© William Sutanto") © William Sutanto Nowadays, modern society of Jakarta needs a more practical, efficient and fast-paced lifestyle. It is currently presented a new thing. It is a new experience that will become marker of the current era. It is the marker of habitation culture that provides a good quality of life in the future. A so-called happy family life. Be a part of Stackhouse. Then you will become a part of the new era. .jpg?1505268056 "© William Sutanto") © William Sutanto  This posting includes an audio/video/photo media file: Download Now |
| Posted: 19 Sep 2017 12:00 PM PDT  © Zhan Changheng - Ma Minghua
 © Zhan Changheng - Ma Minghua From the architect. The Memorial Hall of the Victims in Nanjing Massacre by Japanese Invaders, Phase III was to commemorate the surrender of Japanese troops in Nanjing on September 9, 1945, and highlight the theme-the victory of the Anti-Japanese War. The idea is to express the feelings of victory and fulfillment.  © Zhan Changheng - Ma Minghua 1. Continuity and individuality Commemoration is a continuation of a city's memory.  © Zhan Changheng - Ma Minghua The Phase III as the expansion project of the Jiangdong Gate memorial, which not only supplement urban functions, extend visitors circulation, highlight emotional atmosphere of different themes, but also extend the city memory. The expansion section focuses on the arduous journey of the Anti-Japanese War, the joy of victory, and vision of mankind's peaceful fulfillment.  © Zhan Changheng - Ma Minghua The position of the scheme is harmony without uniformity. The form of the Phase III is integrated with the second phase, and it is integrated into the urban life in a more open, inclusive, friendly and natural way. The earth-sheltered architecture reduces the pressure against the surrounding urban architecture and space, and the curvilinear architectural form is softly harmony with the green trees and grass. The facade of the new pavilion continues to be gray, with these fair-bare concrete columns in the face of the urban space, which show the memorial features of the new pavilion.  © Zhan Changheng - Ma Minghua 2. Commemoration and routine The center of the site is an oval memorial square, which symbolizes the victory of China's Anti-Japanese War and the vision of "completeness". The whole building presents a modest and downy form, being a green park that is integrated into urban life. Among them is a "victory road", symbolizing the struggle for victory. The land around the memorial square is slightly uplifting, forming semi-enclosed space, blocking parts of the city combining with green trees, to ensure that the square is quiet and private, which also provides the public with a recreation place. People can rest, run, walk, wander, talk and enjoy themselves.  Diagram The entire oval square enable accommodate 8,000 people when grand commemorative events are needed. In the north of the square, there is a small podium for the rally. The three sides of the square raise the sloping land, making the square more centripetal and cohesive, elevation of the sloping land accommodate the commercial and exhibition space. The main traffic circulation of the square is organized in the border of the square and the slope, where the unique elements of the memorial landscape are designed. The name of 300 anti-war heroes is engraved on the polished black marble and stands on the side of the square where visitors wander. The southwest of the square is an important entrance to the city, the sunken square is to make the memorial square keep a certain distance with the city road. The elaborate connection of the arch bridge makes the memorial square more direct and cohesive in space.  © Zhan Changheng - Ma Minghua  © Zhan Changheng - Ma Minghua 3. Composition and opening New museum is a complex of a functional composition and opening, except the victory memorial square, green park, also contains the world's anti-fascism war memorial hall, bus station, community garage, bicycle garage, commercial supporting facilities, office, etc. The north and west of the site is connected with the subway, tunnel and surrounding urban space by setting the sink courtyard and ramp, which comb and update of the surrounding urban traffic in general, effectively improve and supplement the museum visiting circulation and traffic organization, to provide a convenient, open and composite space node for city.  Diagram Open and accessible are important features of the new museum. When the memorial hall and new museum are closed, other functions can continue to provide social services. Through the design of the lighting, the square has a different view at day and night, becoming a public day- night park.  © Zhan Changheng - Ma Minghua 4. Space and material Peace and fulfillment, the humble and soft form is the most important expression of the project. The gentle natural curve, green and open grassland makes the environment quiet and relaxed, while expressing commemoration, it also provides a friendly and relaxing recreation place for the public.  © Zhan Changheng - Ma Minghua In the soft green foil, the dark red arc victory wall is even visible. The wall of victory is made of dark red rust plate that can highlight the sense of history and vicissitudes. The wall of victory is extended by negative one layer, the wall is three-dimensional surface, and the surface texture is formed through the separation of steel plate and the embedded lamp groove, it symbolize the historical memory "Born of Fire" of Chinese nation, and becomes the main landscape of green square. The highest point of the wall of victory is the victory torch, which will ignite when it is in events.  © Zhan Changheng - Ma Minghua  © Zhan Changheng - Ma Minghua The facade of the new pavilion is made of a single cast of fair-bare concrete, plain and thick fair-bare concrete can not only highlight the architectural commemorative features, but also accord with the quiet and peaceful architectural atmosphere. The concrete columns in the outer facade cut the sunlight into strips and form an endless rhythm. Beneath the colonnade is the grey rubble floor, which naturally formed a buffer against the city, and reinforced the architectural memory and the sense of place.  © Zhan Changheng - Ma Minghua The ramp of the back victory wall is the road to victory, slowly rise, forming the valley-spatial-experience through curved roof and width-changed ramp, when going to the top of the ramp, is a large cantilever platform, the space suddenly enlightened. Here people can overlook the victory square, symbolizing the "route of victory" from darkness to light. Entering into the memorial hall by the "route of victory", an elliptic cone volume pass through all the floors as the core of the interior space, acting as the preface hall of the memorial museum. The volume provides the contacts between up and down. The soft natural light pass through the elliptical skylights on the top of the volume, create a quiet atmosphere in the memorial hall.  © Zhan Changheng - Ma Minghua  © Zhan Changheng - Ma Minghua 5. Ecological and sustainable memorial building The expansion projects reflect ecological and sustainable concept in multi aspects, via the green roof, solar photovoltaic, gray water recycle, permeable concrete, sunken garden and patio, chimney effects, and many other low-carbon measures, creating a ecological and sustainable architectural monument which possesses both architectural atmosphere and sustainable concept.  © Zhan Changheng - Ma Minghua Conclusion The Phase III expansion project is a complement and continuation of The Memorial Hall of the Victims in Nanjing Massacre by Japanese Invaders. It has the characteristics of openness and publicity, the nature and the commemoration. Here is a place to accommodate historical memories and current lives, victory joy and death grieve, where people can remember, rest, relax, walk and play. We hope that the project will be accepted and loved by the city and its residents.  © Zhan Changheng - Ma Minghua  This posting includes an audio/video/photo media file: Download Now |
| The Chisca on Main / Bounds and Gillespie Architects + Looney Ricks Kiss Posted: 19 Sep 2017 10:00 AM PDT  © Ken West
From the architect. The renovation of the historic Hotel Chisca, located on Main Street, is a uniquely transformative project, bridging a major gap in the urban streetscape between the South Main Historic District, legendary Beale Street, and downtown Memphis. From Chisca's opening day in 1913, to making rock-n-roll history inside its second-floor radio studio that introduced Elvis to the world in 1954, to its Mid-Century modern addition in 1961, to its conversion into a church headquarters in 197 3, to 25 years of abandonment, and finally to its 2016 rebirth as edgy and chic downtown apartments – it is this inherent multi-layered historic quality that attracts visitors and residents alike.  © Ken West  © Ken West  © Ken West When commissioned in 2011 to evaluate the feasibility of rehabilitation, the design team found a building in steep decline. The basement held three feet of stagnant water causing areas of structural failure. The ballroom featured ponding water that had become a dangerous wetland, complete with water fowl and a 25-foot waterfall tenuously supporting a failing roof structure. The penthouse roof structure had collapsed, and the developer believed the 1961 motor lodge addition should be demolished in favor of a surface parking lot.  © Ken West  Building plan  © Ken West The design team recognized that realizing the project's restorative community value would require balancing the building's historic character with budget-conscious design. The focus began with repositioning this blighted block to foster the connection between the thriving arts district and the downtown core. This city-building focus also progressed into a reanalysis of the developer's desire to remove the 1961 addition and a focus on creating an amenity rich environment that embraced the historic hotel functions.  © Ken West Restoring and improving the 1961 addition to better reflect its architectural style thus became a key design feature. Southern facing apartment patios, each with a wood louvered brise soleil, pay homage to the historic checkerboard pattern of the motel's exterior walkways. The first floor of the 1911 building, once the hotel's main lobby with 17-foot ceilings, houses lofted apartment units, an event space, and two successful restaurants. The second floor grand ballroom was demolished to create an elevated, outdoor urban courtyard amenity space.  © Ken West One-hundred-sixty-one apartments, the two restaurants, and a multitude of amenity areas have transformed the site into a fully occupied, market-leading historic rehabilitation project. The most dramatic, yet simple design strokes consisted of surgically extracting the ballroom ruins to create an urban rooftop oasis and the elegant transformation of the maligned mid-century modern addition into an effective market catalyst - all within the National Park Service's Historic Tax Credit guidelines.  © Ken West  This posting includes an audio/video/photo media file: Download Now |
| Naos Business Campus / Arquitectura en Estudio Posted: 19 Sep 2017 08:00 AM PDT  © Llano Fotografía
 © Llano Fotografía From the architect. NAOS - Business Campus is an office building located in the northern area of Bogotá, Colombia. The design focuses on providing a sustainable response to its environment and specific location, aiming to generate comfortable and healthy spaces while using natural resources in an efficient manner.  © Llano Fotografía A fully glazed cladding solution maximises the entrance of natural light into working areas, lowering the requirements for artificial lighting. The curved aluminum screen that protects this fully glazed external skin controls heat gains in critical times of the day, responding to the environment with different densities between its elements according to the orientation of each facade.  Roof Plan These two main elements, along with fair-faced concrete walls, make up the whole of the facade, giving the building a minimalist and contemporary image. The curved corners respond to the movement and urban dynamic of its surroundings. Double height balconies house 6m tall rubber trees, a very typical species in this area, reinforcing the sustainable image of the building towards the city.  © Llano Fotografía  Facade Composition Diagram  © Llano Fotografía The design takes advantage of air currents coming from the east mountains to naturally ventilate internal areas through a plenum created between the ceiling and the concrete floor slabs. On warm days, air pressure opens up trap doors located on the ceilings to allow hot air to rise and be naturally expelled by the cold air current coming in from the mountains, lowering demand on mechanical ventilation systems, reducing energy consumption and guaranteeing thermal comfort inside.  © Llano Fotografía The triple height entrance lobby is an extension of the public realm, with trees and benches reinforcing its urban character inside. A very restricted material palette -white calacatta marble, black ultra thin porcelain tiles (reinforced with fiberglass) and teak wood, give this space a sober and elegant character.  © Llano Fotografía The texture, brightness, and luminosity of the white marble contrasts with the slick depth of the black porcelain, both complemented by the warm and natural colors and textures of the sustainably sourced timber. Signage has been embedded into the walls and ceilings to emphasize the cleanliness of the design.  Public Spaces Diagram The roof landscaping has been strategically designed to blur the boundaries with the city and bring the mountains closer. This space becomes a green park, packed with vegetation, hills, grass and large native trees that reduce the need for watering. Its large extension helps to harvest rainwater that will be used for bathroom supply and garden watering, while it creates an intimate relationship with nature for the people using its break out areas.  © Llano Fotografía Parking areas, with their green colors and dynamic graphics, prioritize hybrid and electric vehicle parking spots, providing charging stations in some of the spots. Bicycle parking is also generously provided, and the comfortable shower and dressing room areas intend to encourage a healthy lifestyle. By combining all these strategies of energy efficiency and rationalizing the use of natural resources, the building has been pre-certified LEED Gold in the Shell & Core category.  This posting includes an audio/video/photo media file: Download Now |
| Morpholio's New AR Feature Makes Perspective Sketching Easier—And More Accurate—Than Ever Before Posted: 19 Sep 2017 07:30 AM PDT  © Morpholio With the launch today of Apple's iOS 11—and with it, the release of the company's powerful system for augmented reality apps, ARKit—Morpholio has released a new update to their popular Trace app that allows users to sketch over photographs with perfect accuracy. While it has always been an option to sketch over photographs in Trace, the new "Perspective Finder" tool superimposes a scaled grid over the photograph that helps designers follow the perspective of the image and measure their drawings accurately. Perspective Finder works automatically when launching the iPad's camera in Trace. Once it detects a surface, it automatically presents a grid which the user is able to rotate to their liking. They can also select the size of the grid, with each square indicating a real-world distance in the photograph. Users can then move around the space to capture the perfect view, with the grid fixed in place.  © Morpholio After an image has been captured, the photograph can then be used as a background for your drawing, with a perspective grid to serve as a guide that can be toggled on or off at will.  © Morpholio "Our app puts scale drawing at the center of the experience, letting designers work intuitively with an iPad Pro and their hands while not losing any accuracy in the process," said one of Morpholio's co-founders, Anna Kenoff. "The uses for Perspective Finder are as endless as the opportunities that AR has opened up. Stand in your kitchen to sketch a renovation, or in an open floor plan to layout a new office space. Look down over a plaza, garden, or streetscape to cast a grid and create a new landscape or planting plan."  © Morpholio "Trace's Perspective Finder uses ARKit to construct true vanishing points, horizon lines, and scale-accurate grids for you, meaning ANYONE can draw with the beauty and accuracy of a pro," added Toru Hasegawa, another Morpholio Co-Founder.  © Morpholio You can find Morpholio's Trace app, now with Perspective Finder, here. Color Capture for Morpholio BoardIn addition to their Perspective Finder update to Trace, Morpholio has also released an AR update to Board, their interior design app. Color Capture allows designers to sample colors from the world around them using their iPad camera and import these colors into their mood boards. You can see video and images of Color Capture in action above, and download Board here.  This posting includes an audio/video/photo media file: Download Now |
| VE GRANDE Headquarters / Punto Arquitectónico + VE GRANDE Posted: 19 Sep 2017 06:00 AM PDT  © Tamara Uribe
 © Tamara Uribe From the architect. VeGrande is an office dedicated to graphic design and branding. The project consisted of reusing a rustic warehouse construction and turning it into space where creative and multidisciplinary work could be developed.  Sections From the street, the facade remains blind, somewhat aggressive, a vertical landmark with the name is the door to an atypical space in the interior, and the only access point to the offices. As a pause between the exterior and the interior, take place the access square, a transition space and the main illumination source in the interior space, the only one green place at the office. The interior façade is configured with doors and vaults according to the needs, emphasizing the views to the access point.  © Tamara Uribe The interior is configured by three continuous spaces. The first contains the public area (reception and meeting room, both in direct contact with the access point), the second one is the workspace, the back cradle contains the services and storage room.  © Tamara Uribe  Ground Floor Plan  © Tamara Uribe The interior space is delimited by the sliding glass panels, which allows having an overview of the office but safeguarding the isolation of each zone; These planes can be opened or closed according to the space needs, allow an adaptive and variable use of it. In the age of the work área, it takes place a magnetized sliding whiteboard, the panel for the generation of ideas, according to its opening allows giving more privacy to the service areas.  © Tamara Uribe In the palette of materials, the naked materials of the warehouse are predominant, with concrete block walls and rugged flat rough and rustic character, contrasting with the interior furnishings and the crystalline cleanliness.  © Tamara Uribe  © Tamara Uribe  This posting includes an audio/video/photo media file: Download Now |
| Vincent Callebaut Envisions Shell-Inspired Eco-Tourism Resort in The Philippines Posted: 19 Sep 2017 05:58 AM PDT  Courtesy of Vincent Callebaut Architectures Vincent Callebaut Architectures has released a design proposal for a new eco-tourism resort in The Philippines inspired by natural coastline forms. Making extensive use of cradle-to-cradle and other sustainable design principles, the resort features a series of spiraling apartment buildings and shell-shaped hotel buildings, themselves positioned on two Fibonacci spirals of land in a coastal lagoon. At the center of the ensemble, a mountain-like complex combines a school, recreational swimming pools, sports halls, the resort's kitchens, and a suite of laboratories for environmental scientists.  Courtesy of Vincent Callebaut Architectures Named the "Nautilus Eco-Resort," the project's eco-credentials were a focus of the design, with Vincent Callebaut Architectures pinpointing the environmental threats to the Philippine archipelago as inspiration for the design. The proposal includes a variety of renewable energy sources, including tidal and solar energy, with any surplus planned to be connected to the local grid and provided to the community.  Courtesy of Vincent Callebaut Architectures The designs also heavily utilize sustainable materials, such as bio-concrete in the shell-shaped hotel facades, green walls, and cross-laminated timber in the central complex. The primary proposed transportation system for the resort is via boat, in an attempt to prevent the imposition of road infrastructure; the boats will have flat bottoms in order to prevent damaging the marine environment.  Courtesy of Vincent Callebaut Architectures The goal of the resort is a symbiosis in which eco-tourism would fund the work of the resort's environmental scientists, while tourists and residents would be exposed to the scientific knowledge that is generated in the laboratories. This was the key intention behind the large cross-laminated-timber complex at the heart of the resort; by including both recreational and scientific spaces in the same building, it is hoped that more interactions could be encouraged between scientists and visitors.  Courtesy of Vincent Callebaut Architectures "In a world that is shrinking," explained Vincent Callebaut Architectures in a press release, "the Nautilus Eco-Resort project wants to extend the field of action of a triple-zero eco-tourism: zero-emission, zero-waste, zero poverty. Discover the world without distorting it. Revitalize ecosystems instead of impoverishing and polluting them. Actively participate in the restoration of cultural heritage."  This posting includes an audio/video/photo media file: Download Now |
| Schmidt Hammer Lassen Breaks Ground on Glass Box Headquarters of Creative Incubator in China Posted: 19 Sep 2017 05:00 AM PDT  © Beauty and the Bit Schmidt Hammer Lassen Architects has revealed the design of the new CaoHeJing Guigu Creative Headquarters in Shanghai as the project breaks ground. Taking the form of three stacked glass volumes with terraces in-between, the center is devised as a series of indoor/outdoor shared spaces that will allow budding hi-tech firms to connect with local graduates and spur innovation of new technology in China. Supported by the government, the project is sited on the edge of the Shanghai Caohejing Hi-Tech Park, a state-sponsored economic and technological development area located 9 miles (14.5 kilometers) east of downtown Shanghai. The CaoHeJing Guigu Creative Headquarters will add to the nearly 1200 domestic and international companies already operating in the Park.  Courtesy of Schmidt Hammer Lassen Architects  Courtesy of Schmidt Hammer Lassen Architects The project programming is divided between its 3 large volumes and the two in-between spaces. The ground level volume contains the main lobby, exhibition and event space and a cafe, while the upper two volumes will house flexible incubator studio space. The levels between will offer support functions and meeting spaces in addition to their landscaped terraces.  Courtesy of Schmidt Hammer Lassen Architects  Courtesy of Schmidt Hammer Lassen Architects "The volumes are playfully staggered to create a combination of exposed and shaded external spaces that can be utilised at different times of the year in Shanghai's variable weather conditions", said Schmidt Hammer Lassen Partner, Chris Hardie. "By doing this we create a direct connection to exterior green space for the buildings occupants to use throughout the year." The third collaboration between SHL and CaoHeJing, project is expected to complete in 2020.
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| Posted: 19 Sep 2017 04:00 AM PDT  © Celso Pilati
 © Celso Pilati The ground of 1200m² has a strong slope and is surrounded by native forest with the most varied types of trees. The architectural design approach was based on keeping the forest intact and at the same time not sacrificing the sunshine.  © Celso Pilati A large deck at the level of the treetops and generous openings in the inner facade solved the goal. Corten steel of orange coloration in symmetrical plates, contrasting with the natural environment was used in the front facade. Few openings to the street guarantee the privacy of the residents.  © Celso Pilati In the underground floor we design 6 cars vacancies, sauna, music studio and service dependencies. Downstairs is the double ceiling heigh living room, dining room, gourmet area, kitchen and home theater. In the upper floor the main suite with exclusive bathrooms and closets, is separated by a metallic catwalk of the other two smaller suites, in order to guarantee greater privacy to the couple.  Ground Floor Plan  Section The vertical circulation (ladder and elevator) was located on the central axis of the house. Photovoltaic panels and use of rainwater ensures the production of electricity and low water consumption.  © Celso Pilati The outside deck in certified wood has become a large open room at the level of the treetops.  © Celso Pilati The triangular pool follows the geometry of the batch. Covered with Hijau stone, has a shallow part for the placement of sun loungers.  © Celso Pilati  This posting includes an audio/video/photo media file: Download Now |
| 3 Reasons Why Excel is the Ultimate BIM Sidekick Posted: 19 Sep 2017 02:30 AM PDT  Courtesy of ArchSmarter This article was originally published by ArchSmarter. Now imagine that's your project getting mangled and misappropriated. Not so funny now. But that's often what happens when we have to translate models and files from one format to another. All that translation means important information is likely to get lost. Fortunately, there's a way to avoid this loss of data. And it comes from an unlikely source. Excel. Yep, you heard me right. That boring old spreadsheet software is really a superhero in disguise. Excel to the Rescue Courtesy of ArchSmarter I recently worked on a project that relied heavily on Excel to translate geometrical data from one format to another. Excel was the perfect tool for the job. I was consulting with a facade engineer. He was hired by a fabricator to engineer and develop fabrication drawings for a complex sheet metal facade for a parking garage. The facade was designed in Rhino using Grasshopper. It consists of 900 folded sheet metal panels. The folding pattern varies across the facade as does the perforation pattern on the metal. There's some repetition of panel types but not a lot. The Rhino model was brought into Revit to develop construction documents. The Revit model, while sufficient for CDs, wasn't precise enough for fabrication. So the facade engineer remodeled it in CATIA. This model definitely was precise. The challenge was translating the data from the CATIA model into the tables and drawings the fabricators would use to actually construct the panels. The geometrical data was easily extracted to Excel but it needed some serious reformatting. Also, a lot of the dimensions coming out of model were linear. This was good but the fabricator needed to know the angle between the panel segments. They'd plug this information into their bending machine to create the panels. Using Excel, I wrote a series of macros that reformatted the CATIA data into a new table that listed the dimensions of each panel. This table included formulas that calculated the angles for each panel. So far so good. I then wrote another macro that used the dimensional data to create a summary table of panel types. We could now determine how many panel types there were and which types had the most panels. This is when things got interesting. Using this data, I hopped over to AutoCAD and wrote a macro that read the Excel summary table and generated drawings for each panel based on a template. The macro inserted the dimensional data into a table in each drawing. All told it took the macro less than 10 minutes to generate all 300 of the panel drawings. Pretty cool! Why did this work out so well? Here are 3 reasons why Excel is the ultimate BIM sidekick. 1. Excel is universalNearly all BIM and CAD applications can export data in text or CSV format. Many can even export directly to Excel. This universality means it's easy to get some kind of data out of the software. It might not be in the format you need, as in the case with the CATIA data, but you can usually reformat it as needed. Even if there's no direct way to export to Excel, there may be a way to get the data out using macros or the software's API. For example, Revit doesn't link directly to Excel out-of-the-box but there are a number of other ways to export data, as I outlined in the post. 2. Excel loves dataOne of the major reasons why Excel works so well with BIM is the reason many people think it's so boring – all those rows and columns of numbers. Turns out, when you want to work with BIM data, that's exactly what you need. Most of the time, we need to organize categories of elements. Think structural columns or doors or rooms. This data is best represented in tabular format. Excel includes some advanced tools for summarizing this data, such as pivot tables. Also, the ability to write complex formulas extends Excel's usefulness considerably. Sure, you can create formulas in Revit but they're nowhere near as powerful as those in Excel. If you need to do some heavy calculations, it's much easier to export to Excel, do the calculations there, then bring the results back into Revit. 3. Excel is super easy to automateOne of the first programs I ever wrote was an Excel macro. They're really easy to write. Excel macros are written using Visual Basic for Applications or VBA. Though it's not as powerful as C# or VB.Net, VBA is user-friendly and easy to learn. What's better is that Excel has a macro recorder that records your actions on the screen and translates them to VBA code. If you're not sure how to do something in a macro, simply record a macro while doing those actions. The code will get generated automatically. The macros I wrote for the project started simple but got more complex over time. This turned out to be a good thing. I was able to easily modify the code to accommodate changes and recreating the tables was real easy. The best part was generating the AutoCAD drawings off the Excel data. There's something very satisfying seeing 300 CAD files created automatically with the press of a button. Also, AutoCAD uses VBA so there was good common ground between the two sets of macros. Best Friends ForeverGiven the data-intensive nature of BIM, it's unlikely that Excel will be replaced as BIM's ultimate sidekick. With that said, I do hope that software companies recognize the importance of working with data directly and create better two-way connections with Excel. Just like in Star Wars, Han puts up a better fight when he has Chewie at his side.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 19 Sep 2017 02:00 AM PDT  © Fernando Guerra | FG+SG
 © Fernando Guerra | FG+SG From the architect. This house is located in a small village in Azeitao, south of Lisbon. Protected by hills from the Atlantic Ocean, the area has a mild Mediterranean microclimate, creating the ideal conditions for growing grapes, producing some of the country’s finest wines.  © Fernando Guerra | FG+SG The project consists of the conversion of a former winery, built by the client’s grandparents at the beginning of the 20th century.  © Fernando Guerra | FG+SG Set back from the main road and surrounded by neighbours, accessible along a narrow alley, the plot has a small orchard of orange trees, an oasis in the middle of the village.  © Fernando Guerra | FG+SG Preservation of this orchard determined the whole project.  © Fernando Guerra | FG+SG In order to retain the trees, it was necessary to keep the existing building and accept that the two sides of the house, which border adjacent properties, would have no windows.  © Fernando Guerra | FG+SG Only two incisions were made into the existing volume.  Axonometric A 14-meter long window was cut into the west façade facing the orchard, turning the interior and exterior into a single space. A courtyard was inserted into the corner abutting the adjacent properties, allowing light to enter the darkest areas of the house.  © Fernando Guerra | FG+SG The public areas of the house are arranged on the ground floor, occupying the entire footprint. The private areas unfold on the upper level, flanking the facades, generating a sequence of strategically placed voids, which create double and triple height spaces on the ground floor below. The generous scale recalls the building’s former use.  © Fernando Guerra | FG+SG  This posting includes an audio/video/photo media file: Download Now |
| The Ambitious Project that Brings Together 44 Mexican and International Architects Posted: 18 Sep 2017 11:00 PM PDT  © Adlai Pulido In Baja California, Mexico, the 860 hectares that make up 'Cuatro Cuatros'—a tourism development that for the past ten years has been overseen and designed by Mauricio Rocha and Gabriela Carrillo of Taller de Arquitectura—present an arid and mostly monochromatic landscape interrupted only by stones and bushland. Vast as the site may seem, only 360 of its hectares will be destined for housing development, of which only 10% can be impacted by construction. The challenge will lay in mitigating the protagonistic stance architecture usually assumes when conquering previously untouched lands, by taking on a presence that disappears into the landscape. _12.12.51.jpg?1504718037 "Cortesía de Cuatro Cuatros") Cortesía de Cuatro Cuatros On September 2nd of the present year, Mexican architect Gabriela Carrillo stood before a group of her most lauded colleagues and presented the work she has developed alongside Mauricio Rocha for the past decade in Cuatro Cuatros. And though the most basic design tasks were no easy feat in a such an area mostly disconnected from any major city, during her presentation Carrillo focused instead on conceptual issues, asking questions such as, how can one build through not only addition, but also subtraction? How can a tree be made a building's accomplice? How can architecture establish a dialogue with the landscape, mutilating the mountain in the smallest way possible?  Cortesía de Cuatro Cuatros Her intention and the reason behind the committee—made up of Mauricio Rocha, Gabriela Carrillo and Claudia Turrent—deciding to summon to the site 44 national and international architects was to invite them to develop the residential area of Cuatro Cuatros together, and "find their strengths in the multiplicity of architectural manifestations and the project's guiding principle in the relationship between architecture and territory." The following architects were invited to create a manifesto that will guide their collaborative participation in the residential project of Cuatro Cuatros: 500 homes located in 360 hectares. Mauricio Rocha  © Adlai Pulido In a round table open to the public, each architect was able to voice his or her opinion on three subjects: the landscape, the context, and the material condition. And though the challenges the group will face are undeniably immense and varied, as a first approach, the event was constructive and showed the wide variety of ideas present among the group of architects. Cuatro Cuatro's new stage is born from the idea that we as a society are facing the end of some previously established notions of what it means to inhabit and visit natural landscapes, keeping in mind that in a site such as the one offered in Baja California, architecture should be silent and leave room for imperfection.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 18 Sep 2017 10:00 PM PDT  © Guillem Carrera
 © Guillem Carrera From the architect. The site is located in an urban residential low-density area surrounded by natural green areas near the sea. A large part of this sector is composed of plots with significant slopes. The observation of the site and immediate surroundings and distant highlighted that most of the houses that were built or being built in the area followed the same premise: place it in the top of plot - filling the land where the buildings are located, through the widest possible cross-volume, leaving the rest of the site as a garden with difficult use and difficult relationship with the living spaces. Resulting in a disproportionately large number of houses, that is not integrated with the environment.  © Guillem Carrera Based on the consideration described above, arose from the premise that the architecture of the house was designed to have the desire to become part of the landscape of the place while achieving proper integration into the natural environment that surrounds it.  © Guillem Carrera And if possible, even the steep slope that had the lot, that the different areas that make up the project in one way or another could have a relationship or visual contact with the terrain. So instead of embankments became an adaptation smooth surface, at different levels, so most of the space not built the site was useful and could participate and be part of the project with a role equivalent to that of the building.  © Guillem Carrera Regarding the project, we renounced to put housing on top of the site and proposed implementation of the adaptive type of steep terrain offered plot by defining and adopting different levels comprising topographic outdoor spaces; in order to make them useful and to enable their relationship with the interior spaces.  Sections With this decision, instead of proposing a cross-sectional width volume, we proposed a longitudinal volume where the last level of the building is located one floor below the almost the surrounding buildings. Thus, originals existing trees are preserved on the site and results in a simple shape constructed volume, less aggressive with the environment and that wants to be an architecture that inhabits the landscape. That is, the building is introduced respectfully.  © Guillem Carrera  Section Details  © Guillem Carrera The house articulates its spatial structure through vertical core communications and the main body that acts as a container of activities that arise auxiliary bodies or service, in a coordinated and participatory way. The semi-underground plant contains the car park, the area of health and storage spaces and facilities.  © Guillem Carrera The ground floor contains the sleeping area: hygienic rooms and chambers. The first floor contains the living area: living room, kitchen and auxiliary constructed volume for guests. The volume above the first floor contains a study area and terrace look out. The interiors are considered simple, practical and comfortable for living.  This posting includes an audio/video/photo media file: Download Now |
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