Arch Daily |
- CLOUD Coworking / MESURA
- X/A apartments / X/A atelier
- In Situ / Aidlin Darling Design
- Australian Pavilion at the 2018 Venice Biennale Will Cultivate Thousands of Temperate Grassland Species
- Estonian Pavilion at the 2018 Venice Biennale Will Investigate the Concept of the "Weak Monument"
- Penélope House / Alexandro Velázquez Moreno
- 360° Renders: An Introductory Guide for Architects
- The Serenity and Community of White Arkitekter's Hasle Harbour Bath
- Studio Pier 88 / Pietro Terlizzi Arquitetura
- This Monument to the Humble Honeybee Bears a Stark Warning
| Posted: 02 Sep 2017 10:00 PM PDT  © Salva López
 © Salva López From the architect. On the sixth floor of an office building in Barcelona, MESURA designs a new Coworking space with 750 square meters.  Floor Plan The space has more than seventy work points, ten private offices, two meeting rooms, a common resting area and privileged views to work where the space becomes an inspiring experience.  © Salva López  © Salva López It is easy to distinguish how two worlds cohabit in the same space, the duality between closed spaces, where silence and concentration are the key elements, contrasts completely with the common spaces, where flexibility and versatility bring out all their dynamism.  © Salva López The enclosed spaces occupy the center while the common spaces are distributed around the perimeter, thus allowing light to flood all the corners of the Coworking and forcing to travel the space in a circular way, thus fostering the collaborative and dynamic character of all coworking needs to.  © Salva López  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Sep 2017 07:00 PM PDT  © Luis Costa
 © Luis Costa From the architect. The enterprise’s development site is in Madalena’s centre and it aimed in constructing three flats, two of them included in a brand new building. In the intervening area there was already a building included in the urban tissue.  © Luis Costa Taking in consideration that the part of the land being worked on was an empty space, secluded from the structure of the existing premises, the approach was rather simple and up-to-date, defining the organization of the volume to be intervened according to the volumes of the other surrounding buildings, in order to maintain the same urban framework.  © Luis Costa  Plan  © Luis Costa  Plan The new building’s volumes results on the intention of creating three outdoor spaces that establish an independent relationship between interior and exterior for each unit. The existing premises were transformed into an architecture studio on the ground floor and a one-bedroom apartment on the first floor.  © Luis Costa The brand new building consists in two two-bedroom apartments, corresponding to the volumes that give structure to both floors. The first floor facade keeps the heights from the pre-existing building, as well as the ones ahead of it. Regarding the second floor, a plane cover is adopted with the aim of keeping the most accessibility to the involving view, from both the exterior and interior of the space.  Section  Section The upper floor apartment faces the sea, making it possible to watch Madalena’s bay and Faial Island, from any of its rooms. This volume, suspended in its extremities, stands out and offers a cover to the entrance as well as the distributing space of the apartments on the lower level.  © Luis Costa The white facade of the original premises is kept untouched, whereas in the new building, a mixture of concrete and Styrofoam is used to replicate the look of sawn stone. The dark shades of the concrete, relates to the tonalities of the adjacent buildings, toning down its visual impact. This material is also used to highlight the top floor, where black ceramic is used in order to reinforce the concept of space subtraction regarding the volume.  © Luis Costa  This posting includes an audio/video/photo media file: Download Now |
| In Situ / Aidlin Darling Design Posted: 02 Sep 2017 01:00 PM PDT  © Matthew Millman
 © Matthew Millman From the architect. In Situ represents a unique and rich intersection of art, design, and food, each augmenting the other to reimagine museum dining, and our relationships with food. In support of Chef Corey Lee's vision and the San Francisco Museum of Modern Art's greater mission, the design emphasizes visibility from the street, open accessibility to visitors and a sense of the ephemeral within a simple, comfortable environment.  © Matthew Millman  Floor Plan  © Matthew Millman Inhabiting street-front space in the existing shell of the Mario Botta-designed portion of the recently reopened SFMoMA, the interior volume of the previous museum café was excavated, and left partially raw and exposed. Inserted in to this excavation is an interplay of floating white art walls, carefully placed to bracket space within the larger expanse of the restaurant. Strategically placed steel apertures and felt acoustic panels calibrate the zones of passage, both visual and physical, between the street and the restaurant, as well as the restaurant and the existing museum's atrium. Together with the raw shell, these layers create a backdrop for discreetly placed "artifacts", analogous to ingredients in their various states of refinement, strategically employed to engage the guest's physical experience. All were inspired thru a collaborative process with the intent of drawing contrast between the rough and the refined: custom designed lighting, custom furniture and a sculptural wood ceiling.  © Matthew Millman Approaching the restaurant off the street, a new steel window box and wooden door are incised on to the existing fabric of the storefront. Additional steel portals are inserted through the existing skin of museums wood paneled atrium; affording views from the atrium in to the restaurant, and vice versa. Once inside, an informal standing and sitting lounge area is envisioned as a shared living room for the street and museum. Toward the back of the restaurant, a quiet formal dining experience is supported by a more intimately scaled and acoustically muted space. An ephemeral full wall mural by Rosana Castrillo Diaz was commissioned for the energy of the front lounge area, while an aggregation of gold framed illustrations by Tucker Nichols was commissioned for subtle rigor of the dining area, tasked with drawing the eye from the street through the restaurant. The final art wall sets up a neutral canvas for a linear constellation of diners perched along a minimal banquette, making the patrons, and ultimately the food they are presented with, as the final ever changing daily art commission.  © Matthew Millman  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Sep 2017 09:00 AM PDT  Mauro Baracco and Louise Wright. Image © Sharyn Cairns Following an open competition, the Australian Institute of Architects have announced "repair" as the theme of the Australian Pavilion at the 2018 Venice Architecture Biennale. Baracco+Wright Architects, collaborating with artist Linda Tegg, will oversee the cultivation of "thousands of temperate grassland species" within the pavilion, alongside "large-scale architectural projections." According to the AIA, "visitors will enter a physical dialogue between architecture and endangered plant community, reminding us what is at stake when we occupy land."  Linda Tegg. Image © Sharyn Cairns The exhibition has been designed to "encourage new ways of thinking and seeing the world, of inventing solutions where architecture provides for the wellbeing and dignity of each citizen on this fragile planet." In this way, it will "frame and reveal an architectural culture in Australia that is evolving through processes that integrate built and natural systems to effect repair of the environment."
 This posting includes an audio/video/photo media file: Download Now |
| Estonian Pavilion at the 2018 Venice Biennale Will Investigate the Concept of the "Weak Monument" Posted: 02 Sep 2017 07:00 AM PDT  Curators of the Estonian Pavilion at the 2018 Venice Architecture Biennale. Image Courtesy of Estonian Architecture Centre Following an open competition, the Estonian Architecture Center have announced "Weak Monument" as the theme of the Estonian Pavilion at the 2018 Venice Architecture Biennale. Laura Linsi, Roland Reemaa, and Tadeáš Říha will develop a project which views the "architectural environment as a layered and historically continuous system," focusing the exhibition on "projects from the recent and more distant past." According to Triin Ojari, Head of the Estonian Architecture Center, "the [successful] proposal deals with an important concept of architecture theory – the idea of 'weak architecture' inspired by the Estonian architect Leonhard Lapin's 1970s concept project 'Anti-International Monument'. [...] This is a project," Ojari continues, "which is looking to interpret the heritage of Modernist architecture and its significance in the present day."
 Curators of the Estonian Pavilion at the 2018 Venice Architecture Biennale. Image Courtesy of Estonian Architecture Centre The jury included:
The 2016 Venice Architecture Biennale saw all three Baltic nations united in the Baltic Pavilion, representing Estonia, Latvia, and Lithuania.
 This posting includes an audio/video/photo media file: Download Now |
| Penélope House / Alexandro Velázquez Moreno Posted: 02 Sep 2017 06:00 AM PDT  © Onnis Luque
 © Onnis Luque From the architect. This project abandons ‘formal’ concepts. It searches for a haptic world, where the corporeal/spatial connection is revalued, thus granting all hierarchy to perception. The project focuses on the interaction of experiences where materialization tries to integrate itself into all spatial references, into memory and imagination, stimulating the construction of another form of dwelling. Ideas that obey an operative principle and a design strategy that gives distinct meanings, bringing psychological dimensions into play and opening the possibility of connecting with the power of intuitive association between all parts of the project. The similarities between cause and effect are recalled by the sensorial multiplicity that all architecture should be obliged to provide; instruments that relate time and space.  © Onnis Luque The house is energised by separating the functions into isolated volumes, operating in a correlation of parts that are linked by the freedom given to the circulations, these being confined and grouped in a central element whose hermeticism compels one’s sight to escape towards the horizon through a great hole that divides the core.  Plan -4.65  Plan -1.50  Plan 0.0  Plan +0.95 The vegetation aggravates the senses since it consciously traverses and penetrates the house, opening out on the slope on the central part of the land. A 'detoxification’ is made, with a barrier of trees that blocks the inside from everything on the street. The empty spaces create horizontal and vertical extensions that challenge the scale and proportion according to what is really important: the human body. Taking on responsibility of new ecological issues, we have incorporated bioclimatic strategies into the project that have permitted energy saving.
 © Onnis Luque In doing so, we have optimized solar energy and have thus avoided loss of heat, achieving a balance between heating and cooling, reaching high levels of comfort. Both positions and volumetric dimensions were involved in these analyses, evaluations and results and even the ranges for the openings of each bay were defined based on the maximum and minimum angles of the solar incidence corresponding to each season of the year. The movement of bodies obeys the calculation of hourly temperatures and levels of wellbeing, especially for winter. From here, the patios and upper terraces are created, displacements that also have another benefit of avoiding being invasive on the side and rear proximities, freeing up space between dividing walls.  © Onnis Luque  This posting includes an audio/video/photo media file: Download Now |
| 360° Renders: An Introductory Guide for Architects Posted: 02 Sep 2017 05:00 AM PDT  Cortesía de SentioVR Undoubtedly, Virtual Reality has come to stay while offering very high contributions to Architecture and Design. The possibilities offered by allowing architects, collaborators, and customers to experiment within a virtual environment, is a design tool that allows better decision making. While VR allows the viewer to experience what it is like to be inside an environment, the 360 rendering processes the idea mimicking it to real life experiences as much as possible, trying to match specifically what the eye sees. No matter what software you prefer to render with, below you can find some common tips and concepts that you need to manage to get good results when creating three-dimensional panoramic images to be visualized on VR. First of all, is crucial to know that there are basically two ways to produce a spherical image: Latlongs & Cubemaps. The first one, which stands for latitude-longitude, is the most traditional way to unwrap and represent a spherical image in a manner flat. there are two kinds of Latlongs; [2:1] which is a basic Spherical Image and [4:1] which is a Stereo Spherical render. By the other side, Cubemaps, place the images on the inner surfaces of a virtual cube on a flat image. There are also two types of Cubemaps; regulars and stereos; [6:1] and [12:1], respectively. You can choose between both of them, but Cubemaps will be more realistic as they will consider two- of their six images- for the top and bottom poles. Spherical Latlong (2:1)  Cortesía de SentioVR Spherical Cubemap (6:1)  Cortesía de SentioVR Then you have to understand about Stereography, which is the act to mimic, through two different cameras, what each human eye (left and right) would see on a 3D experience. To get a realistic perspective is important to keep a standard separation of the cameras, as an analog of the interocular distance. Generally, it’s recommended to use a standard 6.3 cm offset. It will be important to consider keeping a constant offset, so it will make possible to view the whole 360-degree image every time the camera rotates. Regarding to the offset separation, it’s crucial to consider the issue with the poles of the spherical image. If the offset is kept the same at the poles as it is in other directions, the viewer will see and inverted image at the poles, to solve this issue, we recommend you to reduce the offset at the poles so the interocular distance converges to a single point which will look the same, no matter what angle it is viewed from. Together with these interocular distance specifications, is important to place the camera on a correct height. This height, will depend on different factors; as age and ethnicity, and mainly on your project’s goal, which for example could vary if you want your spectators to live the VR experience sit or stand. Finally, to consider the field of view (FOV), which refers to the amount of the image you see per time, will be a great tool to have a general idea of what someone will see when they put the headset on and look without turning their head. It’s recommended to use a 90 degree FOV. Once you have understood all these points, you can open your favorite design software and start creating your three-dimensional panoramic images. At SentioVR’s FAQ you’ll find different video tutorials which explain in an easy way the process for each of these software:
How can I export my 360 renders to virtual reality?  Cortesía de SentioVR What hardware do I need to present?  Cortesía de SentioVR Visit SentioVR.com and take your design projects to VR!  This posting includes an audio/video/photo media file: Download Now |
| The Serenity and Community of White Arkitekter's Hasle Harbour Bath Posted: 02 Sep 2017 02:30 AM PDT Completed in 2013 on the western coast of Bornholm—a small Danish island located south of Sweden—the Hasle Harbour Bath by White Arkitekter is one of a number of waterfront bathing facilities appearing in Denmark. Structures such as the Hasle Harbour Bath, the Kastrup Sea Bath, also by White Arkitekter, and the Copenhagen Harbour Bath by BIG + JDS, evoke images of a bracing coexistence with natural elements. If hygge, the Danish art of cosiness, has been one of the country's most successful cultural exports in recent years, the idea of a refreshing dip in the Baltic Sea offers a counterpart—a ying to hygge's yang. But what impact do these facilities have on the people that live with them? And what can such structures do beyond offering a platform from which to dive into the water? In this 2-minute video, White Arkitekter follows up with the community of Hasle to find out how the Harbour Bath has brought people together, created a relaxing getaway, and reconnected the harbor with Bornholm's spectacular sunsets.  This posting includes an audio/video/photo media file: Download Now |
| Studio Pier 88 / Pietro Terlizzi Arquitetura Posted: 02 Sep 2017 02:00 AM PDT  © Guilherme Pucci
 © Guilherme Pucci From the architect. This 2000.00m² shed located in the neighborhood of Vila Leopoldina - São Paulo, near Marginal Pinheiros was used as a factory and warehouse for 50 years and was seen as a potential structure for a new function.  © Guilherme Pucci The owners, who work in the midst of fashion and accustomed to travel to many cities working (mainly from the United States), have found that this type of structure, being transformed and used quite often as photo studios and especially In Los Angeles and New York.  © Guilherme Pucci With that, the idea of the project was to take advantage of the existing structure and to make all the infrastructure that a film crew could need located in the same place.  © Guilherme Pucci As a result, the project was intended to leave the common areas at the front of the site with reception, administration, storage of materials, meeting room, Cathering cofestore, depository for photographers equipment and even individual rooms for photographers; With this, the photographer does not even have to go to Estudio because they can make their office right there.  Floor Plan In the back of the grounds, 5 large rooms of photography and filming with their mezzanines and exclusive dressing rooms with all the necessary infrastructure for each session.  © Guilherme Pucci The whole structure was independent of the original walls and trusses of the shed.  © Guilherme Pucci The mezzanines were made of metal structure only supported on the floor and the lateral closings were made with concrete masonry in the earthy part and in the mezzanines in dry-wall.  Section It has been done a work of thermo-acoustic insulation throughout the original roof of the roof and restoration and repairs on the original wooden trusses that get to be 2.5m high. It was also necessary to make a system of air conditioning of the recording rooms, cause the production of the summer clothes of Europe and USA are made in the Brazilian winter; Giving thus; Greater comfort to the models.  © Guilherme Pucci The idea was to leave the project with the apparent materials while maintaining the original industrial identity of the construction. The contrast between the wooden structure of the original White Shed Roof and the steel structure of the gray lead mezzanines make it clear what part of the project has over half a century old and who has recently arrived. Space has been used very often for other purposes such as events and parades attracting the largest companies in the industry to use their facilities.  © Guilherme Pucci  This posting includes an audio/video/photo media file: Download Now |
| This Monument to the Humble Honeybee Bears a Stark Warning Posted: 02 Sep 2017 01:00 AM PDT  © Peo Olsson Constructed as part of Agrikultura—a triennial of public artworks and urban interventions in Malmö, Sweden—this installation, described by the designers a "maquette of a monument to the honeybee", is in fact home to an entire colony. It references—by design—the mysterious elements of 'bee orientation': verticality (gravity), geometry (the cell structure of the beehive), and the position of the sun relative to the hive. The project is, on the one hand, "a potential memorial for the bees" while, on the other, "a celebration of the sun on which all life depends."  © Peo Olsson Created by Carpenter | Lowings, the project refers "to the mortal threat to the global bee population from certain insecticides with which seeds are treated." According to the designers, "these can interrupt the neural orientation processes by which bees find their food and is currently leading to a crisis in bee populations." This also threatens human food production; one third of human food is pollinated by the humble bee.  © Peo Olsson
 © Peo Olsson
 © Peo Olsson
Orientation has been acquired by the City of Bergen, in Norway, where in it will become part of a new Sculpture Park Trail in the beginning of 2018.  This posting includes an audio/video/photo media file: Download Now |
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