Arch Daily |
- Oscillation / Atelier Vecteur
- Cultural Center of Beicheng Central Park in Hefei / Shenzhen Huahui Design
- House I / YDS Architects
- Inter-Company Restaurant / Atelier Didier Dalmas
- Weinfelden Fire Station / kit
- Dplus Intertrade Head Office / Pure Architect
- How Narinder Sagoo And Foster + Partners Are Turning Architectural Preconceptions On Their Head (With A Pencil)
- Canadian Pavilion at 2018 Venice Biennale to Explore Indigenous Design
- Millgrove House / Sanam Samanian
- 15 Must-See Installations at the 2017 Chicago Architecture Biennial
- DesignIntelligence Announces Top Architecture Schools for 2017–2018
- Twix House / Studio RED
- The 15 Most Popular Architectural Materials & Products of 2017
- Museum at Prairiefire / Verner Johnson
- WAA's Renovation of Antwerp Tower Will be the Third Tallest in the City
- Spotlight: Gunnar Asplund
- Villa S / N+P ARCHITECTS
| Posted: 22 Sep 2017 07:00 PM PDT  © Tim Fox
 © Tim Fox From the architect. The installation as been realized to protect a construction site and be part of the Festival Voyage à Nantes in France. It as been made from only one and similar same section of Wood. From the same section, we made floor, wall, ceiling and chairs. This is a temporay construction which is going to last for 2 years, till the construction site behind is finished.  © Tim Fox A succession of wooden frames guides the visitor throughout a singular journey.It offers to the passer-by as to the festival of the points of views.This tunnel subtracts its user, time its crossing the city to transform into spectator.The installation plays with light.It responds to the street and brings the street full of voids, shadows and lights.  © Tim Fox The smell of wood invites the course and participates in the rupture of the city. The succession of wooden frames is punctuated like the malleable bellows of the accordion. The frames lead us through a sensory experience. The journey carries the visitor along the route. The journey is not straight, it is winding, filled with surprises and pitfalls. The wooden installation attracts the passer-by to enter and leave on a trip. The journey carries the visitor along the route.  Sections  © Tim Fox The vegetation grab on the structure and create a peaceful atmosphere. The course is adapted to the street. It changes as the path progresses.  © Tim Fox  Details  This posting includes an audio/video/photo media file: Download Now |
| Cultural Center of Beicheng Central Park in Hefei / Shenzhen Huahui Design Posted: 22 Sep 2017 03:00 PM PDT  Streetview. Image © Yao Li, Sui Sicong
 Wall-corridor and water courtyard. Image © Yao Li, Sui Sicong
We try to create a new relationship between building and its outer space, thus creating a new place experience. Let's call this association "ambiguous boundary" for the moment.  Children's Playground. Image © Yao Li, Sui Sicong The project is part of cultural and educational facilities for the nearly 1 million square meters Central Park residential area. The base is a rectangular field about 260 meters wide in east and west and about 70 meters wide in north and south, with the city park on the south which covers an area of nearly 40 thousand square meters, after which the Central Park project is named.  Southeast Aerial View. Image © Yao Li, Sui Sicong Depicting the bustling vision in the open land is almost a common mission for the exhibition hall of a large projects. In places like this project, the challenge for design, on one hand, is how to form a distinctive and powerful city interface to correspond with the huge city park, and jointly create a visual display. On the other hand, it is how to create a field of unique experience, so as to stimulate people's willingness to explore and participate. Benefiting from the future cultural and educational function of the project, we can first endow it with open and cultural characteristics, and then deduce the function and organize the narrative on this tone.  Wall-corridor. Image © Yao Li, Sui Sicong Reviewing the traditional Chinese building and classic garden, courtyard is one of the most powerful spatial forms. It almost forms the core feature of Chinese traditional architectural space. And the building interface of the courtyard is the wall and corridor. The two also bring the courtyard different spatial characteristics: Enclosure or penetration,closed or open.The former is mostly found in street walls and mansions, and the latter is more common in gardens and courtyard. And the two are often used in combination, so that the courtyard space has a better diversity and story appeal.  Wall-corridor with Morning sunshine and long shadow. Image © Yao Li, Sui Sicong While we try to create a new architectural prototype for the definition of the courtyard space, we finally find the combination between the wall and the corridor -- it is just the corridor composed of short wall, with the combination of different forms and modules, forming the diversity definition for courtyard space, also constituting a multiple place experience. This is what we call the "ambiguous boundary". Its form is free from the wall of the building, intended to melt in the outdoor place. "Wall corridor" has a unified whole scale, --6 meters high, 4 meters wide, which defines the boundaries of the entire site, while creating a special "circle scene domain". When the boundary has thickness , daily life and art activities then have a space vector, it can be a paradise for kids to play hide and seek after school and can also be a culture and art gallery of the community.  Basic unit and combination The wall corridor encloses the central water court, and its main body is a shallow pool. As Chinese traditional garden, water constitutes another interface to create an amplified architecture scale and space field sense, and also fuzzy the space boundaries, and the people on the other side of the building across the water can, through a "crescent path", go across the water to enter the building from the outside. And the "crescent path" with continuously changing elevation of the ground floor makes the process of crossing produce different visual experiences due to the change of the sight height.  Wall-corridor. Image © Yao Li, Sui Sicong When people cross the "crescent path ", and push the door open under the eaves, they first come to the hall defined by a piece of scenery wall, in the north of the hall is a small exhibition room, which is a transition space into the central nave, and the central nave is a larger scale exhibition hall, two-storey high, with natural light coming into the space through the skylight, and after being filtered by the roof plate it is shaped into a plurality of lights, finally falling on the wall, in a day, it can change in different directions and thickness, like a sundial recording the passing of time. The background is a spiral staircase and bridges on the second floor which crosses the central nave, connecting two different space, so that people on the first floor and second floor can make exchanges and dialogue here.  the exhibition hall. Image © Yao Li, Sui Sicong  Roof skylights and changes in light and shade The skylight components formed by the roof keel and concrete ribbed beam, thanks to the open joint design, form two rays of different thickness at noon, and the direction and combination of the component section can provide a greater incident angle in the morning and a smaller incident angle in the afternoon, thereby blocking out most western exposure.  the entrance hall. Image © Yao Li, Sui Sicong As the side hall, the east side and south side provide water bar, negotiation and reading and other functions, and is the continuity and penetration of indoor and outdoor space by connecting with the outer courtyard, especially the gray space in the south, as the Children's playground, further enhancing the continuation relationship. On the exterior wall of the two side halls, we appropriately extend the design language of the wall column. In the whole space, we do not emphasize the axis and the sense of ceremony, but use the transition and depth to show the mobility of space. The second and third floors are made up of classrooms of different sizes, and the classrooms are arranged around the two-floor-high courtyard. The courtyard serves not only as an outdoor activity space, but also brings better ventilation and natural lighting for the classrooms.  Ambiguity of the wall-corridor space In the choice of materials, we make clear division according to the building form and function, with concrete for the first floor and U type glass for the second floor and third floor, integrating the light and the heavy, the virtual and the real into an organic whole. The concrete surface is smooth, simple and solid, and the special wall corridor form a stable and open interface; and the U type glass of diffuse reflection is moist in texture, which is made into the wrapping surface for main space, displaying a "semi-transparent volume sense". The two will not form a strong contrast, but can generate rich temperature and expression in different lights.  Entrance. Image © Yao Li, Sui Sicong  This posting includes an audio/video/photo media file: Download Now |
| Posted: 22 Sep 2017 01:00 PM PDT  © Hiroshi Fujimoto/Studio Fuji
 © Hiroshi Fujimoto/Studio Fuji From the architect. The design image is interaction between inner spaces and outer spaces. The outer space inserts into the architecture, so that light and wind brought from the outer space will go into the inner space.  Perspective Section Inner space and outer space would integrate, and Nature and architecture would blend with each other. To realize the concept of 'Box of Light', the intention is to design the terrace like floating in the space.  Axonometry Using LVL woods as beams and let them stacked with laminated wood beams, and placing the core of structure in the 1st floor with many columns in the spaces of lavatories and storages, simple spaces with voids come into being.  © Hiroshi Fujimoto/Studio Fuji There are three voids through which various lights and shadows will go into the spaces and people feel the transition of light and shadow. From the living rooms and rooms around the terrace, one would feel light and wind. The narrow terrace is a private space which functions as an outside living room. In the living room which is sandwiched by two terraces, people always feel nature. Through two small voids which are architectural devices of light, strong or ambient light go through. These light would express transitional beauty and embody the concept of 'MA(Void)' which is a Japanese traditional concept. At night, the outside void would function as a luminaire.  © Hiroshi Fujimoto/Studio Fuji This is an attempt to design light within the white space by making various inner voids and inserted outer voids.  This posting includes an audio/video/photo media file: Download Now |
| Inter-Company Restaurant / Atelier Didier Dalmas Posted: 22 Sep 2017 12:00 PM PDT  © Jérôme Ricolleau
 © Jérôme Ricolleau From the architect. The project is an inter-company restaurant. Its floor area is 533 square meters. This building has a capacity of 175 people indoors and 70 outside. The project is located in an urbanization zone with a vocation of activity. It is called "URBAN EAST", and it is located in the commune of Saint Priest.  Site Plan  Sections The building is in line with the development of the ZAC. For this purpose, the composition of the volumes and the architectural party adopted for this project correspond to the logic of the first buildings built on the area: Simple composition, durable materials, qualitative and economical, creating a rhythm of facade to blur the linearity of the frame. The building is a simple and compact volume with sober lines, on which alternate linear materials. A subtle play of variation of hue decomposes the volume on its height: a crown of matt black color above a stratum of shiny black color.  © Tristan Deschamps The will of this project is to design a comfortable place pleasant to live for the guests.  © Tristan Deschamps The installation of the building on the plot allows to meet the demands of the program and the requirements of the specifications of the zone:  © Tristan Deschamps The terrace is in the extension of the dining room. Break-ins located on the outskirts, give privacy to this place.  © Jérôme Ricolleau The structure of the building is in metal frame. A declination of these blades (perforated blades) is used for the breezes seen positioned around the external spaces. This variation of treatment brings intimacy to these spaces while maintaining a homogeneous writing throughout the site. The exterior thus becomes the extension of the interior.  © Jérôme Ricolleau The jointed assemblies are made of aluminum with thermal break.  North and South Elevation  This posting includes an audio/video/photo media file: Download Now |
| Posted: 22 Sep 2017 10:00 AM PDT  © Ruedi Walti
 © Ruedi Walti From the architect. In 2013, the political commune of Weinfelden arranged an open architectural competition for a new single building to house the fire brigade and the Samaritan emergency services; their resources had up until then been distributed over various locations. Out of the 58 participants, it was the «Grisu» project by kit that was the winner. The jury praised the project as a cultivated industrial building. It stands out through its architectural precision and the impact it has in enhancing the overall urban impression of the route into Weinfelden. At the same time, the new building superbly fulfils all the functional requirements of the various blue-light organisations.  © Pit Brunner Urban situation  © Ruedi Walti  Situation Building  © Ruedi Walti Highly robust steel beams ensure that the garage is not interrupted by supporting elements and can therefore be used in a flexible manner; in the two-storeyed core of the building, the roof is supported on reinforced-concrete walls. The static load-bearing concept for the hall underscores the building's architectural clarity. The use of a range of construction materials – steel, timber and solid elements – allows for the differentiated treatment of the various uses while keeping the thermal barrier within compact confines. A photovoltaic plant has been installed on the roof. The building has been Minergie-certified.  Courtesy of kit The load-bearing structure and ground plan together result in a complete system, which, despite its modular design, reacts consistently to the plot of land's unusual geometry and bestows an adequate expression of its own on each of the building's three sides. The façade is unashamedly industrial, to which even further weight is lent by its covering material of untreated trapezoidal aluminium profiles. The staggered side facing the road permits three small, triangular outdoor spaces. In combination with the newly-planted line of trees, they form a green zone between the public highway and the building. That is also where the principal entrance is located.  © Ruedi Walti The front of the hall in which the fleets are housed presents a long, straight façade of gates giving onto a forecourt, on which vehicles with a large turning circle can be manoeuvred without any difficulty.  © Ruedi Walti Use  © Ruedi Walti The theory rooms on the upper floor are accessed through a two-storey foyer and can be used externally or internally independently of fire-brigade activities. A passageway illuminated by skylights links the classrooms with one another but also widens out into a recreation room with a kitchenette. A panoramic window provides a view down into the vehicle storage hall.  Ground floor plan  Longitudinal Section  This posting includes an audio/video/photo media file: Download Now |
| Dplus Intertrade Head Office / Pure Architect Posted: 22 Sep 2017 08:00 AM PDT  © Chaovarith Poonphol
 © Chaovarith Poonphol  Facade From the architect. DPlus Intertrade, an electronic accessory trading company in Thailand, aims to re-brand, to re-energize teams to move forward as a family and to renew employees' quality of life through a renovation project. The concept design of this project is to make it comfortable enough to feel like home while bright and cheerful enough to make employees feel energized and empowered.  © Chaovarith Poonphol The blue color, which is the company color, was mainly used with a mix of red, yellow, orange, and green to establish a sense of cheerfulness and entertainment inside the space. Diverse colors were also inserted to distinguish between different floors and functions of the building.  Meeting Room Sketch  © Chaovarith Poonphol The design of building's facade also acted as an eye illusion - a silence dynamic. By inserting letter D, a company name, on the side of the aluminum facade, it gives a transformation that our eyes can see differently from a different angle. The letter D is visible on some angle of the building and disappear on a different position. We established the notion of movement through this letter by the transformation of an illusion. From a different perspective, the building can communicate in different languages.  © Chaovarith Poonphol Another interesting aspect on the facade of this building is louver. This aluminum louver facade was assembled in a diagonal direction to represent the characteristic of this company not to be a simple straight and having a mundane design. This continuous diagonal louver gives a lively feeling and smoothness of vision. Since there is no blocking frame between each floor.  © Chaovarith Poonphol .jpg?1506034692 "Meeting Space Sketch") Meeting Space Sketch Moreover, the designer also involved feng-shui characteristic into the design. Water and green area were inserted in front of the building and brown color was painted on the back of the building. Water representing water element on feng-shui means smoothness, flexible, and tranquil.  © Chaovarith Poonphol Brown color representing earth element means wealth. And green color representing wood element means growth and aesthetic. The overall design of this building not only enhances in an aesthetic aspect but also enhances the life quality of users. This silence dynamic design gives movement and life to the space along with the use of bright and colorful tone of color.  © Chaovarith Poonphol  This posting includes an audio/video/photo media file: Download Now |
| Posted: 22 Sep 2017 07:45 AM PDT  © Foster + Partners This short article, written by the author and critic Jonathan Glancey, coincides with the launch of the inaugural Architecture Drawing Prize – a competition curated by the World Architecture Festival, the Sir John Soane's Museum, and Make. The deadline for the award has been extended to September 25, 2017, and successful entries will be exhibited in both London and Berlin. For architects, says Narinder Sagoo, Head of Design Communications at Foster + Partners, drawings are about story telling. They are also a highly effective way of raising questions about design projects. Although the history of architecture—certainly since the Italian Renaissance—has been mapped by compelling drawings asserting the primacy, and reflecting the glory, of fully resolved buildings, there is another strain of visualisation that has allowed architects to think through projects free of preconceptions.  © Foster + Partners Such drawings are largely the child of the architecture of recent decades when the form, plans, and sections of particular buildings have been allowed to evolve independently of specific canons of design. Norman Foster, an architect who fills sketchbook after sketchbook with pencil drawings, has used these to think through the essential nature of design commissions. The immediacy of his inexhaustible sketching has led him to evolve radical alternatives for building types that, at one stage or another in their evolution, appeared to have got stuck in a less than satisfactory groove.  Proposal for Stansted Airport, UK / Norman Foster. Image © Foster + Partners Narinder Sagoo, for whom drawing is second nature, delights in one particular drawing Norman Foster made while thinking through design proposals for Stansted Airport [above]. It depicts a hand turning the building upside down. This direct and almost cartoon-like drawing might seem very simple, yet it represents the moment when Foster determined to move the machinery of an airport terminal from its heavily laden roof and putting it underground. Now, the roof could be no more and no less than a lofty and airy umbrella or parasol, light, effortless and a world removed from the claustrophobic low and false-ceilinged airport horrors of the 1960s through to the late 1980s.  © Foster + Partners What Foster, Sagoo and their colleagues have discovered time and again and around the world is that clients like these interrogative and narrative drawings more than the architects themselves might once have thought possible. Until recently, most architects tended to use client drawings assertively. These might show highly polished renderings of finished schemes at a stage when the client might not be exactly sure of quite what the building they were in the process of commissioning might, could or should be.  © Foster + Partners  © Foster + Partners
 © Foster + Partners  © Foster + Partners Now, Sagoo sketches with Apple Pencils on the screens of iPads. This technology allows him to draw at speed while employing a wide range of techniques. Most importantly, it allows him to show clients drawings as they emerge so that the design thinking, and questioning, through a project is very much alive in front of their eyes. So, here is the architect drawing, as architects always have, but with the assistance of a technology that brings drawing alive in a cinematic way. So, for Sagoo, a judge of the 2017 Architecture Drawing Prize, winning entries will not have to be highly composed (although, of course, they could be). They might be drawings that show how architects question projects and how a drawing, perhaps very different indeed from that evoking some noble Beaux-Arts façade, might just change the very nature of buildings.
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| Canadian Pavilion at 2018 Venice Biennale to Explore Indigenous Design Posted: 22 Sep 2017 07:00 AM PDT  Canadian Museum of History, Gatineau, Quebec. © <a href='http://https://www.flickr.com/photos/bcymet/6902860395/in/photolist-bvYXUp-fp97EN-foTSUx-SR5BKE-foTZTx-STS7Se-5mFADJ-foTPYa-foTUWn-foU24g-foU1pP-5mGEue-bto67V-hTBwVj-hTCbix-4M3qX-cQAYBf-4abMgJ-pEWi6U-fp9a17-fp95Eu-foTUnZ-foTSmr-fp9i4E-foTYWV-4ufRM8-dHEWaH-hTBvLA-fjwZDY-dHLkCE-6h9e1Q-hTBzZA-dHEVMn-bkXNgx-eJV6N3-fp95Xo-eggaue-yTrRiW-eJVc35-foTVZ4-dHKsSb-fp95iG-fp9fbj-bkXFTa-dHE7ea-ajyBLZ-bkXANz-dejox5-dejoD2-eJP2va'>Flickr user bcymet.</a> Licensed under CC BY-NC 2.0 The Canada Council of the Arts has selected Indigenous design project UNCEDED to represent Canada at the 2018 Venice Architecture Biennale. Led by Canadian architect Douglas Cardinal, the exhibition will bring attention to and analyze the architecture of Indigenous cultures from across Turtle Island (the Indigenous name for North America). "I am honored to accept this opportunity to show the true beauty and value of Indigenous Peoples, representing Canada at this most important and prestigious international architectural event," said Cardinal.  Smithsonian National Museum of the American Indian, Washington, DC © <a href='http://https://www.flickr.com/photos/chriswaits/6229180942/in/photolist-ausbtq-7kxSsu-4rhscF-28GkA8-7kxSxL-4nvZNm-9fPysf-NqzjP-a3XAyt-eaVHmu-at5Lv6-U6JBa3-6JCKoS-5tHRfV-8Mjbpv-6BcukX-bW3Po-emtnHp-5pFSZv-bZ2wZ5-bR616-cJ8fQW-5jKGqY-5i585x-5tHRgp-n1TaXZ-emHcDY-crpXMo-4u5Sh2-emtnwr-5jFq3V-pg2Yxx-e8hcqE-WbGiyg-5jFqmi-FJyCPU-97b59k-VZcVJv-emtnAX-5NDGYa-Nqb89-b6Wwjv-5MW4D-w5ehu-6gysT2-5sTSG9-7kSj8n-9T1TN8-6hpSK7-6JNjzV'>Flickr user chriswaits</a>. Licensed under CC BY 2.0 Known for his smooth, naturalistic designs rooted in his Indigenous heritage, Cardinal has designed numerous notable buildings throughout North America, including First Nations University in Regina, Saskatchewan (2003), Canadian Museum of History in Gatineau, Quebec (1989), and the Smithsonian National Museum of the American Indian in Washington, DC (1998). "The soaring eagle, facing east to the Rising Sun, is the symbol of our connection to all of Creation where we approach all life, particularly our fellow human beings, with loving and caring," Explained Cardinal. "Like the Thunderbird, we are as 'the Phoneix Arising out of the Ashes,' a people of resilience and beauty, despite the past degradation seeking to eliminate us. We are a spiritual people, at one with Creation, living in balance and harmony with Nature. It is timely that indigenous architects from Turtle Island be given the opportunity to express their unique contributions to an expanding worldview." Cardinal will be joined Indigenous co-curators Gerald McMaster, curator author, and professor of Indigenous Visual Culture and Critical Curatorial Studies at OCAD University and David Fortin, architect and Incoming Director of the McEwen School of Architecture at Laurentian University. Together they will lead a team of about 18 Indigenous designers from across Canada and the United States, including Patrick Stewart, Chairman of the Indigenous Task Force, Associate Professor at the McEwen School of Architecture at Laurentian University and the first person of First Nations ancestry to be elected as President of the Architectural Institute of British Columbia. "UNCEDED reflects on our country's need for reconciliation. It forces us to question the neutrality of our built environments and the land where they rest. It invites us to understand the deep history held within the land, its inextricable link to identity and culture, and how it can sustain us into the future," added Simon Brault, Director & CEO, Canada Council for the Arts.
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| Millgrove House / Sanam Samanian Posted: 22 Sep 2017 06:00 AM PDT  © Toms + McNally Design
 © Toms + McNally Design From the architect. For Toms + McNally Design, Architecture is a response to context. Millgrove House, located in rural Hamilton, sits on a property that contained an abandoned apple orchard, and a hay-growing farm for local use. Situated between mature treelines and forests, the site is gently rolling. As a result, the design strategy was to use the topography in order to maintain a modest appearance from the street while providing a spacious home for a middle-aged couple with four adult children.  Plan  © Toms + McNally Design A place to live in comfortably, entertain and grow older, the house aims to accommodate their expanding family including the grandchildren. The kitchen, dining and living rooms—the spaces in which they cook, spend time and make memories together—are the focal points of the of the house. These spaces are combined in one generous volume capped with a sloped douglas fir roof rising to the south, opening up expansive views of the meadows and forests. The lower level—a walkout made possible by the topography of the site—is kept almost entirely column free, keeping it bright and not obscuring views of the landscape.  © Toms + McNally Design In addition to building a house that responds to the context and unique lifestyles of the client, the team at Toms + McNally Design experimented with how space is defined and used natural materials and day lighting to bring joy to the residents. Using natural materials was very important to the client, thus the palette for the project includes three types of wood (douglas fir roof beams and deck, walnut and white oak flooring) as well as limestone, and zinc. Moreover, the use of high quality materials, including stone, resulted in a high level of sustainability with low maintenance requirements as the building matures.  © Toms + McNally Design The Mechanical System includes Geothermal cooling and heating as well as central boiler for in-floor heating and domestic hot water. To add to the home's energy efficiency, the windows respond to their exposure (ie, north is different than south), deep overhangs provide passive shading, heat is provided through in-slab piping, and double stud exterior walls allow for continuous insulation. The Electrical System is comprised of LED lighting with solar panels on the roof of the nearby accessory building. Structurally, the foundation and the basement are in concrete with a post tensioned concrete beam at the main level; wood stud structure frames the main level with Douglas fir beams and tongue and groove decking on a concealed steel frame forming the main central volume. In addition to the wood, limestone (from quarries near Owen Sound) is used throughout the project as cladding, exterior hardscaping, interior tile flooring, and surround the real wood burning fireplace. Dark grey zinc flashings and wall panels give the building a polished, sophisticated appearance.  © Toms + McNally Design The team, at Toms + McNally Design, collaborates with their clients to creatively respond to their project and its unique characteristics. They see problems as opportunities, combining context, space, and a respect of materiality and environment to create enduring architecture. For this project, they provided Construction Management services as well as design. This approach allowed for a high level of finish and control of the finished product. Millgrove House is a globally-impressive architecture that intentionally appears to have stemmed from its context, in Hamilton Ontario, into a home for a growing family.  This posting includes an audio/video/photo media file: Download Now |
| 15 Must-See Installations at the 2017 Chicago Architecture Biennial Posted: 22 Sep 2017 05:00 AM PDT
With the 2017 Chicago Architecture Biennial in full swing and open to the public until January 7, 2017, we've scoured the galleries, halls and corridors of the Chicago Cultural Center to bring you our favorite fifteen installations. Documented through the lens of Laurian Ghinitoiu and assembled by our Editorial Team on location, this selection intends to shed light on the breadth, scope and preoccupations of Make New History – the largest architecture event in North America. You can follow our coverage of the 2017 Chicago Architecture Biennial, here. Metropolitana / Piovene Fabi with Giovanna Silva.jpg?1505616858 "© Laurian Ghinitoiu") © Laurian Ghinitoiu During the 1950s and 60s, the designers claim, "everything was possible" in Italy. "The future was there." The scene allowed the cultural avant-garde of the moment to find commissions with large institutions and companies and, in return, to "define a new manifesto of modernity." Inspired by one of the key infrastructural projects of the time, the Milanese Metro, Piovene Fabi and Giovanna Silva have developed a collection of furniture pieces which extract the colour, style, and symbology of the subway into a series of recomposed standalone elements. .jpg?1505616872 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1505616865 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Point Supreme.jpg?1505616887 "© Laurian Ghinitoiu") © Laurian Ghinitoiu For Athens-based practice Point Supreme, led by Konstantinos Pantazis and Marianna Rentzou, their focus is on materials and materiality. Three totems, described by the designers as "vertical lists of things," are statements about accumulation and collecting. The samples that comprise them range from natural and handmade, new and reclaimed, designed or accidental, and whole or modular. The result are three agglomerations of elements which "correspond to precise pieces of the world"; in this case, an "alternative representation of the house." .jpg?1505616895 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1505616881 "© Laurian Ghinitoiu") © Laurian Ghinitoiu The Art Deco Building / WORKac with photographs by James Ewing.jpg?1505616906 "© Laurian Ghinitoiu") © Laurian Ghinitoiu In New York-based practice WORKac's installation, designed by principals Amale Andraos and Dan Wood, Lebanon—and Beirut, in particular—take center stage. "Historic preservation is often couched within seemingly benign alibis such as the preservation of identity, heritage, or cultural specificity," the practice claim. Following the fifteen year-long civil war in Lebanon, this reality became self-evident. The installation, which is focused on a 1930s art deco villa, "reflects on historic preservation's potentials and pitfalls." .jpg?1505616921 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1505616915 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Constructions and References / Caruso St. John with Thomas Demand and Hélène Binet.jpg?1505616930 "© Laurian Ghinitoiu") © Laurian Ghinitoiu The three Chicago Galleries on the second floor of the Cultural Center are grand, cubic spaces, and the most dramatic of these has been outfitted by British-Swiss practice Caruso St. John, in collaboration with world-renowned photographers Demand and Binet. Five large models represent projects completed and under construction by the practice, assembled together and "stripped of their contexts, removed from place and politics." The space around the models, which they describe as a "stage", is enclosed by a tall 'curtain' which is, in fact, wallpaper designed by Demand. The shifts between two modes of representation—model and photography, and two and three dimensions—deftly highlights the space between them. .jpg?1505616950 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1505616940 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Material Connections: Writers Theatre / Studio Gang.jpg?1505616960 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Chicago-based practice Studio Gang, led by Jeanne Gang, have developed a strong body of public works in which understanding, exposing, and instigating community is often central. In the Chicago Galleries of the Cultural Center, they have installed a structural section of their Writers Theatre in Glencoe, IL – a wooden element that is not only beautifully crafted but that allows the Theater to be open to an adjacent park, extending the energy of its social and cultural activities into the wider public realm. .jpg?1505616980 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1505616970 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Finite Format 04 / Pezo von Ellrichshausen.jpg?1505616986 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Seen from a distance, the work of Pezo von Ellrichshausen appears as an evolution of multiples. Structures, rooms, and openings remain a constant in their work, and different configurations have become the spine of their practice. (This theme has been revisited recently in Venice.) Here, the Chilean practice takes the end wall of the Chicago Galleries—although it wraps around to a second surface—to display an obsessive iterative presentation of 729 watercolors – dramatic, insightful, and surprisingly spectacular. .jpg?1505616994 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1505617004 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Parking & More / HHF Architects.jpg?1505616836 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Located on the ground floor of the Chicago Cultural Center, Basel-based HHF's installation is an homage and a speculation to the parking garage. Citing Bernard Rudofsky's 1964 criticism of the "narrow focus of architectural history," which "suppresses the non-representative," HHF present their proposal for Dreispitz – a 50-hectare logistics zone south of the home city: "an open structure for an open future." By infusing the anonymous historical infrastructure of the area into their scheme, they are attempting to suggest an entirely new way of approaching existing built environments. .jpg?1505616851 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1505616843 "© Laurian Ghinitoiu") © Laurian Ghinitoiu The Chapel / junya ishigami+associates.jpg?1505617014 "© Laurian Ghinitoiu") © Laurian Ghinitoiu One of a select few standalone models in the Biennial, and in keeping with his oeuvre of sculptural, minimalist works, Ishigami's proposal for a chapel uses a deceptively simple concept to create a dramatic architectural space. Shaped by the form of a valley located in China's Shangdong Province, two 45 meter-tall white walls enclose a narrow, soaring space, amplifying the natural characteristics of the valley. At one end, the two tall walls connect to enclose the chapel space; from a distance, the chapel appears as a dramatic piece of the landscape, a new, artificial "slender mountain" resting in the center of the natural valley. Presented totally in white, and standing above eye level, a very real sense of the dramatic thought processes behind the bold design of this sacred space are conveyed. .jpg?1505617029 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1505617020 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Make Big Plans / MONADNOCK.jpg?1505617048 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Daniel Burnham, the influential Chicago architect who directed the 1893 World Columbian Exposition, famously said in 1907: "Make no little plans; they have no magic to stir men's blood and probably themselves will not be realized." Burnham followed with, "Make big plans," a mantra that Rotterdam-based office Monadnock has emblazoned Hollywood-style onto a pink scaffolding on the fourth floor of the Chicago Cultural Center. Harkening back to their installation Make No Little Plans in the Netherlands, Monadnock "comes home" with this project: the practice name is synonymous with Burnham and Root's Monadnock building, the tallest load-bearing brick building ever built and brick has been one of Monadnock's favored materials in their own projects (see Landmark Nieuw Bergen). .jpg?1505617054 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1505617038 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Super Models / Sylvia Lavin with Erin Besler, Jessica Colangelo and Norman Kelly.jpg?1505617103 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Located on the fourth floor of the Cultural Center, Super Models—presented in parallel to Exhibition Models, which is currently on display at Princeton University School of Architecture, for which it is connected to be video uplink—features twelve replica models collected by the Deutsche Architekturmuseum (DAM) in the 1980s. Housed in a structure (also a replica) designed by O. M. Ungers, the installation seeks to expose and examine the "assumption that museums only knowingly show original works of art;" in fact, the participants argue, "models commissioned to replicate buildings have long been part of the culture of architectural exhibitions." .jpg?1505617093 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1505617109 "© Laurian Ghinitoiu") © Laurian Ghinitoiu (Study for) Chapel for Scenes of Public Life – The Meeting of Enrico Mattei and the Queen of Sheba / baukuh and Stefano Graziani.jpg?1505617118 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Despite its overtly purple and comparatively inaccessible title, The Chapel for Scenes of Public Life by Milanese practice Baukuh and photographer Stefano Graziani represents an interesting exploration of what "public" means for architects and architecture. Designed to accommodate an imaginary festive event—the meeting of Enrico Mattei (a deceased Italian politician and businessman) and the Queen of Sheba—and inspired by a number of cultural references, including that of Piero della Francesca's, the inner lining of the wooden structure presents a cycle of drawings that speak of and refer to an event that never took place. .jpg?1505617125 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1505617133 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Five Rooms / Paul Andersen and Paul Preissner.jpg?1505617139 "© Laurian Ghinitoiu") © Laurian Ghinitoiu A key ambition behind this iteration of the Chicago Architecture Biennial has been to inhabit the circulation spaces of the Cultural Center. Five Rooms forges a sequence of galleries in a corridor which is, in the words of Andersen and Preissner, "too wide to be a hallway and too narrow to comfortably view exhibitions." Five deep, heavy walls clad in glazed tiles constitute a material move that feels at home in the Windy City and even more so in relation to the pieces that inhabit them – a series of exceptional pieces by photographers David Shalliol and Scott Fortino. These monumental totems represent the most intelligent attempt to interact with the civic, municipal space that the Biennial occupies. .jpg?1505617157 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1505617148 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Tropical Canonical: The Order of Ambiguity / AGENdA - agencia de arquitectura.jpg?1505617063 "© Laurian Ghinitoiu") © Laurian Ghinitoiu In the same way that Five Rooms satisfied a key ambition behind this iteration of the Chicago Architecture Biennial to inhabit the circulation spaces of the Cultural Center, Tropical Canonical performs a similar role and with similar spatial success. AGENdA, based in Medellín, argue that Colombia "is trapped in a narrow definition of its architectural history and a very incomplete idea of its identity," making it difficult for practitioners to position themselves. In response, they have proposed an alternative way of looking at and thinking about history; to see it less as a coherent, linear narrative and more as "a systematic adaptation of canons, process, or materials." Their fabric wall, or curtain, is a "distorted, modified, and adapted" version of a Curtain Wall glazing system. A "beautiful contradiction" lies in its "inverted logic," they argue. .jpg?1505617084 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1505617073 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Cosmic Latte: Beige Manifesto / J. MAYER H. und Partner Architekten and Philip Ursprung.jpg?1505617167 "© Laurian Ghinitoiu") © Laurian Ghinitoiu "The universe is beige," explain the creators of "Cosmic Latte." The installation, which was named after the color of the universe (as prescribed by astronomers), explores the roots, meanings and expression of "beige-ness". Is this a "moderating and popular" color? Or is it the color of violence – the hue of powdery rubble left in the wake of violence and warfare? And if we see beige as boring, J. MAYER H. und Partner Architekten and Philip Ursprung (Chair for the History of Art and Architecture at ETH Zurich) invite us to consider how this charged color is taking on a broader, global architectural meaning. .jpg?1505617174 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1505617182 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Personal Histories / 51N4E.jpg?1505617188 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Brussels-based practice 51N41, led by Johan Anrys and Freek Persyn, attempts to reveal architecture as a transformative process that "generates a productive fiction". Located in the Dance Studio—a darkened room on the ground floor of the Chicago Cultural Center—the installation is composed of films by contemporary artists and a constellation of symbolic objects relating to two projects of different scales, the larger of which being Skanderbeg Square (Tirana, 2012). Travel, by David Clauerbout, is a particularly rich audio-visual of close encounters with natural environments and artificial woodland paths, suggesting that our collective understanding of what constitutes the built environment is more pervasive than we might at first imagine.
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| DesignIntelligence Announces Top Architecture Schools for 2017–2018 Posted: 22 Sep 2017 04:55 AM PDT .jpg?1506095006 "Milstein Hall at Cornell University / OMA. Image © Matthew Carbone") Milstein Hall at Cornell University / OMA. Image © Matthew Carbone Which programs in the United States are best preparing students for a future in the profession? DesignIntelligence emailed architecture and interior design professionals from around the US and asked them to answer this question, using their answers to rank schools from the perspective of those with the power to hire graduates. According to the report, DesignIntelligence surveyed "a total of 2,654 hiring professionals from 1,923 professional practice organizations" in the fields of architecture, landscape architecture, and interior design. Read on to see the top ten undergraduate and graduate programs in the United States. For more information on the methodology, in-depth information on the ranked schools, and additional lists (such as rankings on schools' focus areas like communication, engineering, and design technologies), check out the full report. Top Undergraduate
Top Graduate
News via DesignIntelligence
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| Posted: 22 Sep 2017 04:00 AM PDT  © Ricardo Chaves
 © Ricardo Chaves From the architect. Located in the outskirts of Alajuela, Coyol is a humid weather area full of lush green landscapes and stunning views. The clients were looking for a house able to integrate public areas, front, and backyard within one single space. Twix House is conceptualized by two main curved dynamic shapes, which create one whole. Two twin L-shaped volumes are looking to opposite sides: sunrise facade and sunset facade, resulting in an S-shaped form of the entire house. Both contain the main and secondary bedrooms of the house, giving them unique views of the Central Valley mountains.  First floor plan  Diagram 04. Image Courtesy of Studio RED The main access entrance opens onto a double height lobby, crossed by the bridge in the center, and a curved staircase to the left. The main public area has a double height space, which is an open plan, containing the living room, dining room, and a kitchen. These spaces are connected by sliding doors that lead to the terrace, becoming a key element of the house, transforming the social areas and allowing for direct communication between indoor and outdoor spaces. The private areas of the house are located on the second floor: two bedrooms and a second living room. These are connected by a third volume, which is an interior bridge, articulating the house and integrating all the downstairs and upstairs areas together.  © Ricardo Chaves Due to the particularities of the climate zone, a special attention had to be paid to ensuring that the house remains fresh. Therefore, as a part of the process, different passive design strategies for tropical climate areas were implemented. For instance, the roof of the bridge overlaps the rest of the roof creating a gap, which acts as a monitor letting the hot air leave. Apart from that, the orientation of the building allows for cross ventilation to take place, resulting in cool and refreshing temperatures indoors, despite the daily tropical heat.  © Ricardo Chaves  This posting includes an audio/video/photo media file: Download Now |
| The 15 Most Popular Architectural Materials & Products of 2017 Posted: 22 Sep 2017 02:30 AM PDT
What are the best construction materials and products on the market? Which are the most popular? Thanks to the activities of our readers, we're beginning to find some answers to these questions. Combining the use of two ArchDaily tools, many of our readers have saved their favorite architectural materials and products—directly from our catalog—into their personalized My ArchDaily folders. We have investigated the data from the first 6 months of 2017 to identify and share the most popular products from our catalog with you. What do these products have that make them so popular? Would you apply them on your next project? Perforated Polymer Concrete Panels for Ventilated Facades
 Perforated Facade Panel. Image Courtesy of ULMA Architectural Solutions Metal Fabrics: Illumesh
 Metal Fabrics: Illumesh. Image Courtesy of ULMA Architectural Solutions Aluminum Windows: Soleal
 Aluminum Windows: Soleal. Image Courtesy of Technal Hydraulic Tiles
 Hydraulic Tiles. Image Courtesy of Apavisa 3D-shaped Fibre Cement Facade Material
 Facade panel Linea. Image Courtesy of EQUITONE Perforated Metal Panels for Facades
 Façade Panels - Perforated Panels. Image Courtesy of MetalTech-USA Outdoor Luminaires: FLUT Floodlights
 Outdoor Luminaires - FLUT Floodlights. Image Courtesy of Lamp Porcelain Tiles: MaxFine Iron & Trax Collections
 Porcelain Tiles: MaxFine Iron Collection. Image Courtesy of FMG Integrated Folding Doors
 Integrated Folding Doors. Image Courtesy of Centor Interior Partition Systems: Woven Metal Mesh
 Fabricoil® Interior Partition Systems. Image Courtesy of Cascade Architectural Perforated Facade Panels for Shading Screens
 Shading Screens - Perforated Facade Panels. Image Courtesy of Bruag Terracotta Sunscreen
 Sunscreen - Fabrik®. Image Courtesy of Shildan Exterior Glazing: ClearShade for Clerestories & Facades
 Exterior Glazing - ClearShade for Clerestories & Facades. Image Courtesy of Panelite Wooden Furniture for Gardens
 Accoya® for Garden Furniture. Image Courtesy of Accoya Custom Made Doors
 Custom Made Doors. Image Courtesy of Ellison Bronze  This posting includes an audio/video/photo media file: Download Now |
| Museum at Prairiefire / Verner Johnson Posted: 22 Sep 2017 02:00 AM PDT  © Sam Fentress
 © Sam Fentress  First floor plan From the architect. The architecture of the Museum at Prairiefire in Overland Park, Kansas celebrates the rich story of the region, stemming from the Kansas tradition of controlled prairie burns. Real Estate developer, Merrill Companies, contacted prominent Museum and Architect Planners – Verner Johnson to aid in creating a structure that would match the surrounding landscape. Jonathan Kharfen, the lead architect on the project examined the landscape and its characteristics and developed an idea to create a building that looked like flames ablaze in the fields. The design evoked a sense of irony, according to Jonathan, "It's not traditionally a building's job to conjure up images of fire, in fact, it's quite the opposite". The obstacle presented here was how to capture the upward and expansive movement of fire, adding animation to a building constructed of lifeless materials. The solution was to use a combination of multi-colored, iridescent stainless steel tiles, mixed with an innovative use of Dichroic Glass. These products, in conjunction with the stone volumes as a backdrop, provided durability and design versatility, resulting in vivid, inextinguishable color.  © Sam Fentress Dichroic glass came about through a collaboration between the R&D team at Goldray Glass –an architectural decorative glass manufacturer, and 3M. By laminating 3M's premium grade polymeric film between two or more lites of glass, Goldray Glass created a product that exhibits a brilliant color shift through transmitted and reflected light. Available in cool and warm tones, dichroic laminated glass can be integrated into any design concept as an accent or focal piece.  © Sam Fentress  West elevations To truly capture the fire element, Light Interference Color stainless steel panels – from Millennium Tiles, were used to complement the dichroic glass. The light and color changing properties of these two materials emulate the unique characteristics of fire. As the light conditions change throughout the day, the colors of the building move and dance the way flames flicker.  © Sam Fentress The building wings on either side of the lobby are clad in locally quarried limestone cut into thin panels, and features red Utah sandstone at the main stair. Verner Johnson says these wings are clad with contoured parapets evoking the softly curving sculpted hills of the prairie. The stratified stone forms a gradient, from darker "charred" stone at the base, to near white stone at the parapet. The stones colors are mixed in varying band heights to achieve the gradient  © Sam Fentress The interior invitingly opens through from street to wetlands. Within the Great Hall the fire shapes form interesting volumetric spaces and shifts in scale, creating countless moments for discovery. To evoke the aura of flames, the walls of the 'lines of fire' are designed as thin as possible. Narrow tube columns are spaced 25" apart, encouraging people to stand between them. The lack of apparent structure makes the Great Hall seem to float, expand around corners, and dynamically engulf the visitor. The Museum at Prairiefire is a regional civic hub bringing world-class educational traveling exhibits from the American Museum of Natural History to a community hungry to engage in broader cultural and scientific experiences.  SSG systems  This posting includes an audio/video/photo media file: Download Now |
| WAA's Renovation of Antwerp Tower Will be the Third Tallest in the City Posted: 22 Sep 2017 01:00 AM PDT  Courtesy of Wiel Arets Architects Extending the tower to 100 meters, Wiel Arets Architects' (WAA) design for Antwerp Tower will make it the third tallest building in Antwerp and hopes to provide a hub of activity to an already vibrant part of the city. The renovation of the 1970's block will see the footprint of the upper levels being expanded out to increase living space whilst maintaining the unique diamond floorplan. The residential tower will contain 6 to 14 apartment units on each floor, each with their own loggia, ranging in area from 40 to 120 square meters and penthouses that will be up to 240 square meters. The system of load bearing walls and columns partially replacing the existing structure will minimise the need for columns within the residential spaces.  Courtesy of Wiel Arets Architects As the corner plot of the tower borders the side of the Flemish Opera, WAA have had to be careful in producing a design that does not overwhelm the ornamental building. A simple yet elegant style achieves a considerate composition of the two buildings by incorporating large polished concrete components, up to 9 meters wide, and seamless windows into the closed cavity façade system. The loggia's design further provokes simplicity with glass balustrades and the same material palette carried through from the tower's façade.
On the lower levels there will be a restaurant, offices and wellness areas, accessed through the entrance on the western façade adjacent to the opera and retail on the ground floor that is fronted by the southern pedestrian-only shopping street. A void that passes through the tower to the roof terrace (provides) sufficient daylight for the lobby.  Courtesy of Wiel Arets Architects The tower is scheduled to be completed in 2019.
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| Posted: 21 Sep 2017 11:00 PM PDT  Stockholm Public Library. Image © Sam Teigen As a professor of architecture at the Royal Institute of Technology, and a designer often cited for his contributions to Nordic Classicism, Swedish architect Gunnar Asplund (September 22 1885 – 20 October 1940) was a notable theorist on the most important architectural challenges of his time, first exemplified by his lecture entitled "Our Architectonic Concept of Space."  Image via <a href='https://commons.wikimedia.org/wiki/File:Gunnar_Asplund_1940.jpg'>Wikimedia</a> (public domain) Asplund is considered one of the most influential modernist architects of Sweden and was a proponent of the modernist style first seen at the Stockholm International Exhibition of 1930. He completed numerous works regarded as prototypical examples of Nordic Classicism and the so-called Swedish Grace movement, including the Stockholm Public Library.  Stockholm Public Library. Image © Sam Teigen Other notable works include the extension of the Gothenburg Courthouse and his collaboration with architect Sigurd Lewerentz for the design of Skogskyrkogården cemetery.  Stockholm Public Library. Image © Sam Teigen Acclaimed Finnish architect Alvaar Alto regarded Asplund as a mentor, modeling the initial designs for his Viipuri Library after Asplund's Nordic Classicism.  Gothenburg City Hall Expansion. Image © <a href='https://commons.wikimedia.org/wiki/File:Gothenburg%27s_city_hall.jpg'>Wikimedia user pruxo</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> Click the links below to find out more about Gunnar Asplund's most famous work, the Stockholm Public Library, as well as more on recent renovation plans for the building. AD Classics: Stockholm Public Library / Gunnar Asplund Caruso St John Appointed to Renovate Asplund's Stockholm Public Library  This posting includes an audio/video/photo media file: Download Now |
| Posted: 21 Sep 2017 10:00 PM PDT .jpg?1495155530 "© Andreas Mikkel Hansen") © Andreas Mikkel Hansen
 Site Plan From the architect. Villa S, is located with a newly established residential area on one side, and with a forest on the other - not far from Copenhagen, Denmark. The shaping of the villa took starting point in the context and the arrival from east, where the S-shaped façade accommodates and welcomes you inside.  © Patrick Ronge Vinther  © Patrick Ronge Vinther When being inside you will experience an interior that is well connected both horizontally and vertically, yet it still creates a private area for children and a private area for parents. Roofed outside areas and terraces creates a close connection between interior and exterior.  Section  © Andreas Mikkel Hansen  This posting includes an audio/video/photo media file: Download Now |
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