Arch Daily |
- King´S Garden Pavilion / Krupinski/Krupinska Arkitekter
- Call for Ideas: The Wall
- PF House / FERREIRARQUITETOS
- Villa RR / Reitsema and Partners Architects
- One-None-Stone House / TAO Office
- P.K. House / Junsekino Architect and Design
- Porto's Subway Through The Lens of Fernando Guerra
- Constructing the Curriculum: William McDonough's Cradle to Cradle Building to Inspire the Next Generation
- Mt Pleasant Home / Cymon Allfrey Architects
- 20 Amazing Images of Architecture as Seen from the Sky: The Best Photos of the Week
- Social Agenda vs Social Media: Reviewing the 2017 Chicago Architecture Biennial
- Chipster Blister House / AUM architecture
- Meet the Mobile Dwelling Space Named B.O.B.
- PETRA. The Stone Atelier / Fran Silvestre Arquitectos
| King´S Garden Pavilion / Krupinski/Krupinska Arkitekter Posted: 24 Sep 2017 10:00 PM PDT  © Hampus Berndtson
 © Victor Johansson  Site Plan From the architect. The project is the winning proposal by Krupinski/Krupinska Arkitekter in the open international competition for a new pavilion in the King´s Garden in central Copenhagen. The competition had a total of 64 entries and the project was opened to the public in the late summer of 2017  © Victor Johansson To experience the long perspective of a tree-lined path, the rhythm of the trunks and the ray of sunshine is a sublime sensation. In the King´s Garden of the Rosenborg Castle in Copenhagen one can experience this mystical power in several places but above all in the Damegangen and the Kavalergangen.  Axonometry  Diagram The proposal for a new pavilion in the King´s Garden comes from the dramatic choreography of Otte Heiders renaissance garden and Johan Cornelius Kriegers more recent recreation of the park in a baroque style. The suggestive atmosphere of the tree lined pathways and the strict geometry of the garden, where paths most often meet orthogonally, have, through Pavilion +, been interpreted in a built structure.  © Hampus Berndtson The plan of the pavilion is organised as a cross where each short side invites the visitor to a stylised promenade. The promenade through the pavilion is a continuation of the movement in the King´s Garden where the regularly placed columns creates a rhythm that reminds of passing tree trunks while the distance between the tree members of the roof filters the light similarly to a tree crown.  © Hampus Berndtson The pavilion is open and accessible from all directions and has no front or back. The edge of the pavilion offers places to sit from where one can gaze and interact with the four new smaller outdoor spaces that the cross formed pavilion creates. These outdoor spaces have each a unique and distinct character.  © Victor Johansson The existing large broad-leaf trees that give the place an intimate character shade the first space. During sunny days a pleasant oasis is created where one can have a picnic or just read a book while leaning with the back towards a tree. The second space is adjacent to the existing Hercules pavilion that houses both a café and cultural activities. One can here sit by a table and drink a coffee while contemplating on the movement of the Kavalergang.  Courtesy of Krupinski/Krupinska Arkitekter The third space is a large lawn that is partially framed by the existing Cotoneaster bushes. It is a programmed space that invites to activities such as football, Frisbee, Tai chi but also where one, while running, can feel the grass between the toes. The fourth space has a permanent stage and is encircled by existing trees and bushes.  Courtesy of Krupinski/Krupinska Arkitekter In common for the four outdoor spaces is that they are all framed by the new pavilion on two sides. The intention of the pavilion is by small means make visitors aware of various spacial experiences. The outdoor spaces are experienced differently depending on if they are framed by bushes, tress, grass or a building. But also through the addition of furniture and stages. The pavilion in turn is experienced, regardless of it´s constant section, differently depending in what direction one walks, from where the sun shines or what outdoor space one passes. The sensual experiences are enhanced by the wooden members creaking beneath ones feet, by the smell of pinewood and the possibility of touching the wooden columns while passing  © Victor Johansson In addition to the large permanent stage a small mobile platform is proposed that easily can be moved to different places depending disposition or fancy. Performances can be made both on the two stages but as well in the pavilion, thus becoming a stage. Different stage opportunities create the possibility for a varied program of music, theatre and other performances. The pavilion can also house other activities such as long tables, fashion shows and exhibitions.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 24 Sep 2017 09:00 PM PDT  CODE (COmpetitions for DEsigners) and Con-fine Art have launched "The Wall," a design competition aiming at a re-interpreting the concept of "wall." The initiative, in cooperation with Regione Emilia Romagna, the Municipality of Bologna, and the University and the School of Fine Arts in Bologna has a cash prize of € 10,000, and the first-prize project will also be exhibited. The jury comprises renowned personalities of the design and art international scene, including among others Edoardo Tresoldi, Massimo Iosa Ghini, Franco Purini and TAMassociati. BriefFrom the Great Wall to Pink Floyd, the wall has been present throughout the history of humankind, acquiring a symbolic meaning broader than any other architectural element. The wall is an element of division. It marks a boundary and defines a space. It is an expression of the human mind itself. The mind itself considers reality as divided into opposites, into abstract and intangible taxonomies, building imaginary walls between different descriptors of the known world. Hot and cold, black and white, good and bad; physical or abstract concepts separated by a psychological border that distinguishes one entity from the other. The wall is a breaking element, an impassable limit, or a community perimeter. It has influenced painting, science, and literature, suggesting and encouraging cultural production of unequaled fascination and importance. Walls are a canvas for artists from Raphael to Bansky. Walls enhance movies and literature. Walls, again, marked and still mark extremely painful moments of international political strife (from Berlin to Mexico). For these reasons, the wall will be the protagonist of "The Wall," the next exhibition organized by Con-fine, a cutting-edge publishing house in the organization of high-cultural profile international exhibitions. Con-fine has already curated "Dalì Experience" and the current "Bologna Experience." With 100,000 visitors, both exhibitions successfully inaugurated a new exhibition concept: an exhibition closer to the users, an exhibition that offers an immersive experience of the work of art.  A previous exhibition organized by Con-fine. Image Courtesy of CODE Through the exhibition of works of art by artists like Gianbattista Alberti, Arnaldo Pomodoro, and Hitomi Sato, The Wall will delve into the role of the wall in history, analyzing the meanings, connotations, and the tangible and abstract aspects that created the imagination behind this fascinating architectural element. With a constantly changing artistic perception, Con-fine invites all designers to envision a series of installations. They have to be imagined in the most significant places in Bologna in order to involve the city in the thinking about the wall which is promoted by the exhibition. "The Wall" gives designers a unique opportunity. With their creative contribution, they can take part in one of the most engaging exhibitions of the contemporary cultural scene. They will boast a prestigious showcase to exhibit their work. With their ideas, they can also contribute to the international debate regarding the role and the meaning of one of the most inseparable protagonists in the history of humankind: the wall. Jury
Prizes
Calendar
More information at: www.competitionsfordesigners.com
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| Posted: 24 Sep 2017 08:00 PM PDT  © ITS – Ivo Tavares Studio
 © ITS – Ivo Tavares Studio From the architect. Located in Praia da Vagueira, in the municipality of Vagos, we were requested by the client to carry out the rehabilitation of the existing housing, which was in an advanced state of degradation. The house develops on a single floor, around a courtyard, through which all the divisions interconnect.  © ITS – Ivo Tavares Studio  Plans  © ITS – Ivo Tavares Studio The entry point in the house, presents us with the fantastic surrounding landscape, being the point between the private and public program. In the transition between the entrance and the open space of the kitchen / living room, a small mezzanine appears, creating a contemplation space. At the level of the constructive solution, we opted for the reduced use of materials, looking for simplicity and the reduction of construction costs.  © ITS – Ivo Tavares Studio  © ITS – Ivo Tavares Studio  © ITS – Ivo Tavares Studio All divisions are no longer limited to their wall, with the use of large windows, and they have as limit the courtyard. One of the main characteristics of the dwelling is the full use of the ceiling created by the slope of the roof.  © ITS – Ivo Tavares Studio  This posting includes an audio/video/photo media file: Download Now |
| Villa RR / Reitsema and Partners Architects Posted: 24 Sep 2017 07:00 PM PDT  © Ronald Tilleman
 © Ronald Tilleman  Section From the architect. How do you transform a 50-year-old villa into a comfortable, contemporary, sustainable home? To find the answer, the architect Theo Reitsema and the interior designer Stephanie Weitering, who are married to each other, spent a year living in a 1967-built house in the Dutch community of Rijssen, looking, listening and feeling. They and their two young children settled in the villa, set in the middle of the forest. Together they explored the possibilities presented by the house and its location.  © Ronald Tilleman Reitsema and Weitering made discoveries during that first year that would inform the house's transformation. For instance, the family occupied the villa through all seasons. Living on a hill in the forest means you're surrounded by greenery in summer. Since the thick foliage provides shade, the house doesn't need any sun protection or air conditioning beyond an overhang on the west side. And in winter, the low sun warms the house and its occupants can see for hundreds of metres through the branches.  © Ronald Tilleman During the metamorphosis, Reitsema and Weitering took full advantage of Villa RR's hilltop position. The house comprises two storeys on the east side and one on the west. The application of dark stucco to the lower floor, which contains a double garage and a home office, turned it into a sort of plinth for the floor above, where the living and sleeping areas are located. The upper storey is given a distinctive appearance by a new wooden facade, which is relatively closed on the east side and fully open on the west. The front door marks the transition between the two sections. A playful outdoor staircase gives the entrance extra appeal.  © Ronald Tilleman Reitsema and Weitering might not have thought of building the house lengthwise on the deep lot, precisely along the east-west axis. But they applaud the decision by the original architect, J. Abma. The house's orientation allows for views of both the north and south sides of the garden from the living room. To maximise enjoyment of the landscape, Villa RR has been extended with a glass volume at the western end. The roof is supported by four slender (38mm) chromed columns that reflect the landscape, enhancing the panoramic views from the living room.  © Ronald Tilleman The transformation has kept the living spaces on the west side of the house and the bedrooms on the east. Between the bedrooms and the living room is the garden room. In contrast to the light, airy living room, the garden room is more enclosed. The use of timber cladding continues on the garden room's walls, transforming it into a veranda when the bi-fold doors are opened fully and creating a smooth transition between the interior and the flower garden. The architects have taken a number of steps to ensure that the house will continue to provide a high level of comfort in the future. They have installed a heat recovery system, triple glazing, high-quality insulation, LED lighting and energy-efficient appliances, making Villa RR nearly energy-neutral and ready for the next 50 years.  Basement plan  Ground floor plan  This posting includes an audio/video/photo media file: Download Now |
| One-None-Stone House / TAO Office Posted: 24 Sep 2017 05:00 PM PDT  © Masih Mostajeran
 © Masih Mostajeran "House", in the contemporary city, in the din of closely-knit apartment buildings and in the grimace of distantly arranged villas, has been reduced to the status of a mere suffix. We converted the land of the "One-None-Stone" Project into a house to bring the suffix to the fore in order to turn the architectural tale into a narrative of space. The opened inner space, light and continuity became the pivot of the narrative and the plastic characters of matter and material found their way into the dynamic of space.  © Masih Mostajeran  Diagram The stairway became the protagonist of the narrative, and the courtyard its beloved. The beloved fled upwards, and the step, brick by brick cut through spaces to finally fling itself into its beloved's lap. Path joins to edge, edge to mass, mass to void and void to threshold so that the "House" could shout its story from part to whole. Cut bricks, open and closed holes, wind towers-like chamfered roof, sky-facing unoverlooked balconies, continuous internal and external voids, and the space of the basement garden, all these create the story of the One-None-Stone house.  © Masih Mostajeran  © Masih Mostajeran The Seljuki architects of Soltaniyeh dome had freed the brick from the oppression of design, a masterpiece architecture near the One-None-Stone house that did not become stoneless due to lack of stones. Freed from design, the house ran to embrace the brick, pure and simple. We are not the real narrators of the story; the One-None-Stone itself found its way into our minds and that of our employer and started whispering gently in our ears thereafter.  Elevation  Section The contemporary city, seething with noise, leaves no room for gentle whispers, but it's still the whisper that turns city into house.  © Masih Mostajeran  © Masih Mostajeran  This posting includes an audio/video/photo media file: Download Now |
| P.K. House / Junsekino Architect and Design Posted: 24 Sep 2017 01:00 PM PDT  © Spaceshift Studio
 © Spaceshift Studio From the architect. P.K. House is a single house for the family of five locating within the developed housing on suburban area of Bangkok. With an identical shape and size of plot, an architect chose to specify first the open space in order to give the building some sense of uniqueness which this space will be used for relaxing, exercising and planting. In addition, the family members can breathe in the natural air as well as ease their stress and enjoy the scenery of nature outside.  © Spaceshift Studio  Plan 01 The interior space including living area and dining room are designed to be shared space for serving all the members on their joint activities with a double space in some area making this space wide andwell-ventilated. The second floor space would emphasizing more on the privacy with a common area that can be extended in the future if needed.  © Spaceshift Studio The boundary of the house and living area are clearly defined which helps creating the sense of privacy to the space. By using double layer façade, the space is not only become more private but also become cooler as this screen help reducing heat penetrating to the interior space. Furthermore, with the use of the metal mesh as a façade element, the light and shadow effect within the space is shifted through time which create the aesthetic perception likewise the natural ventilation to the resident. As well as for the roof, the double layer method also apply to the design which help lighten the overall mass of the building and cool down the space inside. Altogether of these stated elements, these become part of distinguishing the horizontal and vertical element of the design.  © Spaceshift Studio  This posting includes an audio/video/photo media file: Download Now |
| Porto's Subway Through The Lens of Fernando Guerra Posted: 24 Sep 2017 09:00 AM PDT  Porto Subway. Image © Fernando Guerra | FG+SG The following photo set by Fernando Guerra focuses on Porto's Subway, a project completed in 1996 and projected by the important Portuguese Architect Álvaro Siza Vieira. Designing a subway station in Porto is about influencing the daily lives of thousands of people, where they daily circulate, establishing flows and routes, in a urbanistic and architectural intervention with large-scale dimensions. Although it demands an extremely functional and austere design, it is possible to see the gestures of the architect through the details and surprises.  Porto Subway. Image © Fernando Guerra | FG+SG The tunnels launched under the mesh of the city, the gallery, and the platform under the sidewalk level, arise through scales and artificial light. A symbol of contemporary architecture in Portugal, Siza supports the project in a set of elements that make reference to his previous works, through elements that seem to cleanse the excesses of space, retaining only what is essential.  Porto Subway. Image © Fernando Guerra | FG+SG Symmetry, white concrete walls, pastel tones tiles applied to the lateral gables and pillars, and peripheral illumination are some of the elements that harmoniously make up the internal area. From the minimalism of the architectural scale to the delicacy of the scale of the product design, those who calmly notice the tiles on the gables, beside the scalators, and on the pillars, notice some tiles printed with sketches of the architect. The peripheral illumination embedded in the lining design also helps to guide users circulating through the space. It shows us how architecture can be present in the daily life of the population, even if silent, without excesses, yet expressive.  Porto Subway. Image © Fernando Guerra | FG+SG Check out the complete photoset below:  This posting includes an audio/video/photo media file: Download Now |
| Posted: 24 Sep 2017 07:00 AM PDT  Courtesy of William McDonough + Partners Tackling the widespread issue of climate change, Universidad EAN (UEAN) in Bogotá, Colombia illustrates the same construction philosophy taught to the students in their new building under the title of 'Project Legacy.' As the next generation fill the seats of the new auditorium they will be party to the very thinking that went behind the building, solidifying their knowledge as they get to experience it first-hand. The architects, William McDonough + Partners, are no stranger to the cradle-to-cradle ethos that inspires their sustainable approach. The philosophy models the human industry on the processes within nature to maximise usage of materials for as long as possible – recovering and regenerating products. These perpetual cycles are a long-term solution to the dominant system that uses the cheapest materials in manufacturing.  Courtesy of William McDonough + Partners
 Courtesy of William McDonough + Partners Covering 85% of the façade, the WonderFrame modular system defines the building as the triangular panels depict the scattered sunlight from amongst the trees, providing both shade and daylight. McDonough's frame structure was originally designed for the 2016 World Economic Forum Annual Meeting in Davos, Switzerland as the temporary ICEhouse™ (Innovation for the Circular Economy), having been rebuilt since in 2017 and will continue to be assembled and reused as the official meeting space in 2018. The UEAN WonderFrame will compose of commonly available materials and be the largest structure of this building system so far.  Courtesy of William McDonough + Partners  Courtesy of William McDonough + Partners Solar chimneys will assist the building's natural ventilation as air is drawn up out of the roof from the building where operable windows feature on each façade. The structure will be one of the first to be a part of the new pathway for naturally ventilated projects in Colombia. The new protocol has recently been accepted by the U.S. Green Building Council as an opportunity to gain energy credits in the LEED rating system as Project Legacy aims for the LEED™ Gold rating. Within the new building, there will be an auditorium, classrooms, administration offices, laboratories, a cafeteria and even an indoor basketball court. There is also plenty of outdoor space to enjoy Bogotá's weather at the ground floor and on a terrace at the sixth floor. Groundworks are set to begin in the last few months of 2017.
News via: William McDonough + Partners.
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| Mt Pleasant Home / Cymon Allfrey Architects Posted: 24 Sep 2017 06:00 AM PDT  © Stephen Goodenough
 © Stephen Goodenough From the architect. This home is sited in a semi-rural environment, high on a spur of Christchurch's Port Hills featuring panoramic views from the Southern Alps to the west, through the Kaikoura Range to the north, to Scarborough to the east. Our brief was to create a modern family home that considered the harsh, wind-swept environment. We were to capture the dramatic vast views and provide the diversity of planning to create sheltered courtyards for outdoor living in most conditions.  © Stephen Goodenough Architecturally there was a desire to let the home cascade down the hill allowing most rooms direct access to the gardens and to anchor the home to the ground.Twin pavilions create two primary living terraces on the hill. A central link is rotated to disrupt the order of the home and to aid in achieving a better north-west aspect to the lower pavilion and a widened view from the rear pavilion. A third pavilion is placed above the home containing utility spaces and providing a bulk of building to protect from the strong southerly winter storms.  Cross Section  © Stephen Goodenough During the design process, the concept was conceived that the roof could lie on the hill like a leaf on a flat surface (a juxtaposition between a geometrically flat surface and the organic 'flat' surface of a leaf). A single pitch roof was placed over the two pavilions and in critical places, edges of the building are chamfered which along with the rotation of the lower pavilion form a dynamic parapet line and variation in internal volume.  © Stephen Goodenough The program of the home is organized around a central gallery space with transverse corridors and living spaces placed akin to the relationship between the mid-rib and vein of a leaf. Formal and informal living spaces are grouped to allow a strong connection between the family unit (the typical occupant). Interconnecting doors allow a degree of separation to be achieved where necessary. Sleeping spaces are placed in the higher living pavilion providing for acoustic separation to the general living rooms.  © Stephen Goodenough Three main exterior courts are placed adjacent to living rooms to allow one to move with the tracking of the sun and to offer some protection from the prevailing easterly breeze or the less frequent (but more severe) north-westerly and southerly winds. Externally the home is clad in a random width, vertical cedar board. This along with the muted grey, low reflectivity palate have been selected, anchor the home to the site and to the rural context.  This posting includes an audio/video/photo media file: Download Now |
| 20 Amazing Images of Architecture as Seen from the Sky: The Best Photos of the Week Posted: 24 Sep 2017 05:00 AM PDT  © Chen Hao This week we have prepared a special selection of 20 images of architecture as seen from the sky. This style of image, made possible by the emergence of drones, is increasingly used in architectural photography. It makes it possible to understand, in a single image, the totality of a project, and to see how the project interacts with the context in which it is immersed. Read on to see a selection of renowned photographers such as Hufton + Crow, Fernando Guerra, NAARO, and Jesús Granada. Steve Troes FotodesignResidential Building with 15 Units / METAFORM Architects © Steve Troes Fotodesign Chen HaoThe Qiyun Mountain Tree House / Bengo Studio © Chen Hao M. Hédelin / Région Languedoc-RoussillonThe Rivesaltes Memorial / Rudy Ricciotti + Passelac & Roques © M. Hédelin / Région Languedoc-Roussillon Felipe Díaz Contardo2Y House / Sebastián Irarrázaval © Felipe Díaz Contardo Ramiro del CarpioPlaza Cultural Norte / Oscar Gonzalez Moix © Ramiro del Carpio Barbara Vetter, Vincent HeilandLanka Learning Center / feat.collective © Barbara Vetter, Vincent Heiland Tia BorgsmidtThe Roof House / Sigurd Larsen © Tia Borgsmidt NAAROVilla Ypsilon / LASSA architects © NAARO Fernando Guerra | FG+SGCasa Cabo de Vila / spaceworkers © Fernando Guerra SHIROMIO StudioJingshan Boutique Hotel / Continuation Studio © SHIROMIO Studio Takumi OtaTenri Station Plaza CoFuFun / Nendo © Takumi Ota Hufton + CrowV&A Museum / AL_A © Hufton + Crow ASSISTANTIT IS A GARDEN / ASSISTANT © ASSISTANT Marco ZantaFranz Kraler's Showroom / Studio Marastoni Architetti e Ingegneri Associati © Marco Zanta Fernando Guerra | FG+SGJungle House / Studio MK27 - Marcio Kogan + Samanta Cafardo © Fernando Guerra Juan RodríguezNorvento Building / Francisco Mangado © Juan Rodríguez NAAROVilla Ypsilon / LASSA architects © NAARO ASSISTANTIT IS A GARDEN / ASSISTANT © ASSISTANT Jesús GranadaCID Center / NGNP arquitectos © Jesús Granada Barbara Vetter, Vincent HeilandLanka Learning Center / feat.collective © Barbara Vetter, Vincent Heiland  This posting includes an audio/video/photo media file: Download Now |
| Social Agenda vs Social Media: Reviewing the 2017 Chicago Architecture Biennial Posted: 24 Sep 2017 02:30 AM PDT  © Steve Hall While architecture exhibitions have a tendency to be drab affairs with poorly displayed poster boards and reams of intellectualized text spouting pseudo-complex ideas, the Chicago Architecture Biennial stands out for its undeniable sense of playfulness. From its central HQ to the fringe performance events, this exhibition is bright, fun and Instagram-ready. Chicago, like Venice, is blessed when it comes to architecture, making the city an ideal home for a recurring architecture show. The importance of this year's iteration, the second after its inaugural event in 2015 (thus confirming its status as an actual "Biennial"), is clear. And the curators, Sharon Johnston and Mark Lee from LA-based practice Johnston Marklee, seem determined to grab people's attention. The Chicago Architecture Biennial sets out its spirited intentions early, with bright salmon-pink and navy blue branding. The show's website and social media presence are also brazenly graphic and visually led. Inside the Chicago Cultural Center, which hosts the bulk of the Biennial, this fun aesthetic continues with a bold and bright yellow information desk, positioned immediately in front of the entrance. Inside the exhibition proper, the Instagram-ready highlight of the Biennial is the much-publicized "Vertical City" exhibit. Arranged on the top floor of the building, this is the place to start a visit before descending to the (slightly) less impactful, but arguably more cerebral, exhibits within the show. In "Vertical City," the Biennial's theme "Make New History" is interpreted literally, with 15 prominent, young(ish) architects from around the world invited to respond to the 1922 competition brief to design a skyscraper for the Tribune Newspaper on Chicago's Magnificent Mile. This original contest, which was billed as "the greatest architectural contest in history," drew 263 entries from 23 countries. "The act of looking to the past to inform the present has always been central to architecture," say the curators. Fittingly, the Tribune Tower contest has already been revisited once before, with the famous "Late Entries" exhibition in 1980 featuring alternative drawings from Helmut Jahn, Frank Gehry, and Arquitectonica, among others. Each of these two previous contests provided a cross-section of the architectural thinking of their times, and one assumes the aim of this contest is to once again reinvestigate and reimagine the skyscraper under a contemporary lens. Rather than drawings, this year's invitees were each invited to create a 16-foot high model, and almost all are individually eye-catching. The whole ensemble is an entertaining range of ideas and colors—perfect for photographing and sharing on Twitter, Facebook, Instagram, and SnapChat. The attention to detail on many of the towers proved especially ideal social media fodder. Many of the entries initially appear cartoony, but after reading the blurbs attached and talking to some of the commissioned architects it is clear that, in the main, each is a considered mini-essay. The architects have worked hard to build a narrative to support their model, if not actually to tackle the issue of how a modern skyscraper should operate and its role within the city. Of course, shows like this are a place for experimentation so the contributions are ultimately fit for purpose. The understandable narrative of reimagining the well-known contest combined with the visually enticing results make this part of the Biennial accessible to anyone with a passing interest in architecture, which is of great credit to the curators—although putting the "Vertical City" at the furthest reaches of the Cultural Center may impact the numbers of casual visitors that view it. Beyond and below the "Vertical City" is its counterpoint, "Horizontal City," a series of 24 models arranged on low pedestals. Deliberately more difficult to engage with, both physically—many of the exhibits require bending down low to see into—and intellectually, this exhibition is still immensely photogenic. The challenge of crouching or kneeling to get the best photos only seemed to increase people's desire to capture, crop and filter these models that each play with the theme of scale. Both "The Re-Encampment" by Chicago's UrbanLab and the millennial pink furniture of the "Grand Interior" scale model, by Spanish architects MAIO, were particularly popular on social media. My personal favorite was DRDH's investigation of the Pantheon, which showed a perspective of the famous building that is hard to appreciate in real life due to its immense scale. Beyond these two key exhibitions, the Biennial gets more fragmented, but still retains, for the most part, its aesthetic impact and physicality, with some of the numerous exhibits in the building's lesser spaces being almost built for Instagram. One such example is Sylvia Lavin, Erin Besler, Jessica Colangelo, and Norman Kelley's "Super Models" exhibition within an exhibition, displaying 12 models of famous works of art within an almost life-size house; another is T+E+A+M's Ghostbox, a re-imagination of the contemporary ruin. Although further still from the main exhibits, the talks and symposiums connected to the Biennial were relatively dry and aimed at architecturally-focused professionals. I heard first-hand from international journalists who left the New Materialisms: Histories Make Practice/Practices Make History symposium because of its unnecessarily heady conversation. While the Biennial is undoubtedly playful—I don't think I've ever smiled so much at an architecture exhibition—it could be criticized for being too focused on the surface without the meaningful content of other Biennials. Sure, there is some more serious content like David Schalliol's images of an underrepresented Chicago, but these photos only line a groundfloor hallway of the Cultural Center. Overall there is no escaping the Biennial's sense of light-heartedness. While the inaugural Biennial, "The State of the Art of Architecture", asked what architecture's role was in shaping, and perhaps even helping, the world, this year's title "Make New History" is a wide-ranging prompt that does not suggest any social agenda. However, with 100,000 people visiting in the opening weekend, cementing Chicago's reputation as one of the most successful cities at engaging the public to its architecture, is that such a bad thing? And, does this point to a wider trend in architecture? A trend of people wanting instant (and Insta) gratification giving rise to the prominence of one-dimensional architecture? I don't know. What I can say for certain, however, is that this Biennial is incredibly enjoyable and worth going to... if only to Instagram the many, many visual highlights. Tom Ravenscroft is an architectural historian and editor of The B1M.  This posting includes an audio/video/photo media file: Download Now |
| Chipster Blister House / AUM architecture Posted: 24 Sep 2017 02:00 AM PDT  © Erick Saillet
 © Erick Saillet From the architect. The Chipster Blister House is born from the collaboration between a couple with 3 children and Pierre Minassian and his team of architects.  © Erick Saillet The house has at its ends two exceptional cantilevers. The monolithic lines of this resolutely contemporary volume are meant to stretch to the extreme affirming the duality between mass and void, glazed surfaces and concrete sails.  © Erick Saillet This contemporary mashrabiya allows the inside of the house to profit from a maximum visual frame while reducing the penetration of excessive solar light. An intermediate space between the glazing and the suspended curtain appears to the occupants of the premises and a sensation of extra volume is instantly felt. Viewed from the outside, the facade is uniformed, and in the undulating reflections of the hulls we perceive all the tones of a sky framed between vegetal and mineral.  © Erick Saillet This house is extremely efficient from an energetic point of view and meets the BBC label. Thus a multitude of technical solutions have been developed to conserve the raw concrete apparent on the outside and the inside. In order to retain a maximum of the raw concrete structure apparent, the roof is insulated from the outside with a system of extremely efficient thin insulating panels. The reinforced concrete walls are divided with thermal breakers and thermal insulation. The imposing veil of the living room in double height has also been left in exposed concrete, which makes it possible to detach visually the structure of the chimney in raw steel. The bridge that plays the link between the library space suspended above the kitchen and the bedrooms is actually a beam of the structure of the house. It puts the space in tension.  Ground Floor Plan  1st Floor Plan This house, whose envelope is largely glazed is a low consumption building. It is heated with a geothermal heat pump and has a dual-flow ventilation. The main façade to the south is largely glazed and has latticework made of resin shapes that reduce solar contributions. The high concrete slab comes largely in front of the facade and thus limits the solar penetrants in summer.  © Erick Saillet  This posting includes an audio/video/photo media file: Download Now |
| Meet the Mobile Dwelling Space Named B.O.B. Posted: 24 Sep 2017 01:00 AM PDT  © Adam Shilling Three M. Arch. candidates at Montana State University, Jonathan Chavez, Kimball Kaiser and Adam Shilling, won an Undergraduate Scholars Program research grant which they used to fund their design-build project: B.O.B., the Backyard Office Box. B.O.B. is a kit of parts which, when put together, create a 150-square-foot dwelling space. The design team, also known as Tr3s, wanted their project to be adaptable to a variety of sites and users. B.O.B. can function as an additional space to already existing projects or standalone as a temporary shelter.
The small-scale design is a simple 11-by-11 foot square further divided into a 3-by-3 grid. The structural grid allows for multiple wall panel configurations, depending on the user's needs. B.O.B.'s scissor jack feet allow it to maintain level structure on a variety of site surfaces.  © Adam Shilling
 © Kimball Kaiser  © Kimball Kaiser Easy to install and configure, B.O.B. was constructed using traditional hand tools and transportation, no heavy machinery or construction vehicles necessary. This mobile architecture was constructed with primarily recycled materials. Siding, roofing, insulation, sheathing, operable windows, and even most of the structural steel are salvaged. The design strategies Tr3s implemented led B.O.B. to cost only $19 per square foot.  Exploded Axonometric Learn more about the project here. Design Team: Tr3s  This posting includes an audio/video/photo media file: Download Now |
| PETRA. The Stone Atelier / Fran Silvestre Arquitectos Posted: 23 Sep 2017 10:00 PM PDT  Courtesy of Fran Silvestre Arquitectos
 Courtesy of Fran Silvestre Arquitectos From the architect. Petra The Stone Atelier is a space in which three activities live together. On the one hand, it is an exhibition space for the company Stonehegen that shows stones from all over the world. The British cromlech that inspired the company serves as a reference to trace the geometry of the place. A circular furniture inside which we can discover the different natural stones. In this way, the numerous shades of marble, quartzite... are not contaminated by them and can focus attention on the material that is observed. The space is apparently empty, neutral, white, where you can find hidden stones, some of them semiprecious.  Courtesy of Fran Silvestre Arquitectos  Floor Plan  Courtesy of Fran Silvestre Arquitectos The materials are classified according to the chromatic range. In concentric form, as in neolithic construction, there is a comfortable meeting room completely upholstered in black. It also uses the local as an exhibition space, which shows the pieces of furniture developed with natural stone as its protagonist.  Courtesy of Fran Silvestre Arquitectos The third use of space is to house some offices of the brand. Natural lighting is sifted through the skylights, and artificial lighting helps to read the geometry of the room that is drawn on the ceiling. The project continues with the opening of spaces with the same values in several European capitals, starting in this case in front of the modernist building of the Mercado de Colón in Valencia, by the architect Demetrio Ribes.  Longitudinal Section  Courtesy of Fran Silvestre Arquitectos  This posting includes an audio/video/photo media file: Download Now |
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