Arch Daily |
- R-Houilles / Florence Gaudin Architectes
- House for a Drummer / Bornstein Lyckefors
- De Drukkerij / EVA architecten
- White Snake House / Pierre Minassian architecte + AUM architecture
- DESINO Eco Manufactory Office / Ho Khue Architects
- House Komoro / KASA ARCHITECTS
- KALM Bangsaen Hotel / junnarchitect
- Pájaro de Plata House / OsArquitectura
- Dominique Perrault and Students Envision Underground Solutions for a Underused Gallery at the 2017 Seoul Biennale
- AD Interviews: John Hardy
- Pueyrredón 1101 Building / Pablo Gagliardo
- House AA315 / BERNARDI + PESCHARD & BLANCASMORAN
- MVRDV Breaks Ground on Mixed-Use "Valley" to Inject Life into Amsterdam's Business District
- Emerald Hills Leisure Centre / MJMA + MTa
- How a Novel Saved Notre-Dame and Changed Perceptions of Gothic Architecture
- House ACP / Candida Tabet Arquitetura
- Spot the Symptoms of Someone With an Architecture Affliction
- Sneak Peek: MAD's Chaoyang Park Plaza Project is Almost Complete
- Hegnhuset Memorial and Learning Center / Blakstad Haffner Arkitekter
| R-Houilles / Florence Gaudin Architectes Posted: 05 Sep 2017 10:00 PM PDT  © Rebecca Topakian
 © Rebecca Topakian From the architect. The existing house lies on a generous lot and has a typical 30's style. Despite the state of degradation, its original architectural language was kept intact: two colours decorating bricks (…), stone basement, apparent metallic lintels, etc.  © Cendrine Robert The house also has features and proportions witch are to be found in any family house of that era. In the client's program the existing housing surface had to be tripled.  Courtesy of Florence Gaudin The extension consists in an original form attached to the pre-existing house, showing a contemporary free adaptation of the house pattern. It is used as a mean for two major purposes: On the one hand, the project keeps the pre-existing house intact, preserving its own original typology.  Floor Plan  Floor Plan On the other hand, it generates two specifics, independents entities with their own volumes and design expressions, and creates the in-between part as an architectural transition space.  © Cendrine Robert This architectural transition space is a real metaphor of one of the leading concepts of the agency's work: This is the place where the two worlds melt together and creates the unification of the architectural pieces of the entire new building, in terms of linking rooms together, allowing to combine and enhance use of the different spaces of the different parts of the building, managing the fusion of the two specific times of building attached to another, etc.  Section On the urbanistic side, despite an important amount of housing surface created, this distinction marked between the pre-existing house and the new volume created helps indeed to blend the project in the architectural context of the whole district area where it takes place.  © Rebecca Topakian At last, this gap 'in-between' the pre-existing building (existing house) and the new building (extension) is a technical value for the project. It ensures an independent structure for both building parts, avoiding the under-building works and also avoiding the differential settling of the terrain under the constructions.  © Cendrine Robert The volume part of the extension reads into the archetypical family house: two-symmetrically-sided rooftop, hinged window shutters. Deliberately a fresh copy of the pre-existing house, cleaned from all its design details of the facade, from all the non-functional elements in the design of the roof and of the façades and cleaned from all the architectural patterns of the pre-existing house architectural style.  © Rebecca Topakian Under this volume, and between these two different  © Rebecca Topakian A floor opening is created through the existing floor of the house, filtered by a residential net, in order to allow people to enjoy the 'in-between' space as they float thanks to this net between to eras of constructions. But this hopper is also a communication for the two generations in the family: the children, in the new building part, and the grown-up, in the pre-existing house part, meet up there, at the centre of the connection between the two entities of the project.  © Rebecca Topakian It's in that very spot, where two different construction eras meet and two generations connect, where the expected event of the project is revealed: The typical architecture of the pre-existing house develops itself through this linking space and inverts its outer facade to create the inner surface of the wall that becomes the surrounding element of the common living rooms inside the extension. This mirror effect of exchanging surfaces, materials and architectural vocabularies tells the whole history of this family project as a living element that evolves through time, space and other abstract dimensions.  © Rebecca Topakian Product Description. In order to open the inside of the building on the garden at its best, the transition part of the building, located uder the new white volume, consists in broad glass windows that allow a constant visual connection trough out this part of the building between the inside of the building and the outside wich is the garden area. These long glass windows required to follow the current thermic regulation and fit to the strict budget of the project. So, in order to answer to this requierement, we used the product of the SOLEAL range by TECHNAL to get to that level of quality.  Concept These glass windows are firmly fixed into the ground and the surface material of the floor around it inside is blue irish stone, aswell as the outside material. The finishing of the stone is adapted to each environment so to keep the continuous aspect of the material equally inside as outside this space : the outside stone is flamed and the inside stone is flamed and bruched.  © Rebecca Topakian  This posting includes an audio/video/photo media file: Download Now |
| House for a Drummer / Bornstein Lyckefors Posted: 05 Sep 2017 08:00 PM PDT  Courtesy of Bernstein Lyckefors
 Courtesy of Bernstein Lyckefors From the architect. House for a drummer is built for a single father of two with great interests in music, sailing and nature. The house is located half an hour north of Gothenburg on the Swedish west coast at the edge of a vast farmland.  Courtesy of Bernstein Lyckefors The context has some very specific historic legacy as an old farm stall and warehouse used to rest on the site. It burned down some generations ago and was never rebuilt but has influenced the design. The new house is a straightforward warehouse inspired volume with a distinct framing and with large barnyard doors covering the windows facing west, all painted in traditional Swedish Falu-Red colour.  Courtesy of Bernstein Lyckefors The client, a single father of two, wanted an open and social two-story house. He wanted a house that could blend in and become a part of the site and its surroundings but also had a spatial richness of its own.  Diagram The bearing concept of the design is an open section through the house. Just like the open plan it allows the rooms to intertwine between the two floors.  Courtesy of Bernstein Lyckefors The ground floor has a concrete floor that seamlessly continuous on the outside while the other floors have varying heights and formats.  Courtesy of Bernstein Lyckefors Without losing living space the floor slab is displaced vertically to create contact between the floors and allow light to spread deeply down the diagonal through the house.  Detailed Section In addition to the entrance hall, WC, kitchen and living room, the ground floor also includes a passageway with a niche designed as a daybed. The space works as a cubbyhole for the children or as an additional more secluded reading and relaxing area that is separated from the open and integrated living room.  Courtesy of Bernstein Lyckefors In the living room there is a place-built bookshelf in plywood with the house's workplace. Plywood is on of two materials that define the house. The ceiling, the parts with exposed beams, place-built furniture, some walls and the stairs are all made out of wood. The other surfaces and the entire kitchen is decorated with a dark grey wooden fibreboard (Valchromat).  Courtesy of Bernstein Lyckefors A staircase from the kitchen reaches the second floor. A tall vertically oriented room redirects the spatial flow to the upper part of the living room and to a balcony overlooking the west. The upward spiral finally ends in the master bedroom that virtually hoovers over the living room.  Courtesy of Bernstein Lyckefors  This posting includes an audio/video/photo media file: Download Now |
| De Drukkerij / EVA architecten Posted: 05 Sep 2017 07:00 PM PDT  © Luuk Kramer
 © Luuk Kramer From the architect. The Dutch Province of Jesuïets has had their residence, care and nursing home in Nijmegen for many years now. As the population was decreasing the building became too big and a replacement was looked for. At a distance of 700 metres, in Brakkenstein park, a new residence is erected. In the same park there is a printing works from the 1930's, its characteristic industrial identity well intact. It was purchased and designated to house all functions that should support the residence: refectory (restaurant), offices, archives and library. Besides, a restaurant for non-residents is realised. The total plan is designed in a design team, in which Diederendirrix is responsible for the residence, Kees Tolk for the garden design and we for the printing works and enlargement. The corridor connecting the buildings and the garden is designed in consultation.  © Luuk Kramer  Section  © Luuk Kramer The historic value of the printing works was appraised, at which it appeared that earlier enlargements had hardly any architectural, spatial or functional added value. Therefore they are 'peeled off', until the first building phase plus one later enlargement remain. Subsequently, a new part will be built around it, clearly showing what is old and what is new. The ground floor is as transparent as possible to maximise the view of the park. The upper floor has anodised aluminium slats, the same material as the frames in the residence. The closed parts will have the effect of a printing plate, subtly referring to the past of the building as a printing works. This is designed by visual artist Marc Ruygrok.  © Luuk Kramer  This posting includes an audio/video/photo media file: Download Now |
| White Snake House / Pierre Minassian architecte + AUM architecture Posted: 05 Sep 2017 05:00 PM PDT  Courtesy of Pierre Minassian architecte + AUM architecture
 Courtesy of Pierre Minassian architecte + AUM architecture Site 40 hectares including a lake and an oak forest. The lake is oval shaped and located in the middle of the forest. The clients originally wanted to build their house in the middle of the forest, but the architect Pierre Minassian convinced them to build it on the lake.  Courtesy of Pierre Minassian architecte + AUM architecture Description of the house The house is composed of 2 slabs of white concrete. The level of the lower slab varies so that there are different levels in the house.  Courtesy of Pierre Minassian architecte + AUM architecture The layout of the rooms depends on sun exposure and viewing angle. During the entire year spent on the study, the goal of the AUM studio was to design a building that was as pure and simple as possible.  Ground Floor Plan All the materials are used so as to emphasize the minimalist style of the house. The windows of the house were subjected to sophisticated and complex studies: they are embedded in the lower and upper slabs. Some of them can slide to open the façade. The building of those windows was man-made and experimental.  Courtesy of Pierre Minassian architecte + AUM architecture Access to the house is done via a telescopic bridge that isolates the house from the shore so that it is impossible to get into the house without being invited. The bridge is located between 2 oaks aged 150 years (they are the oldest trees in the estate) The entrance of the house is the most opaque area of the building. It is composed of suspended steel plates.  Courtesy of Pierre Minassian architecte + AUM architecture The swimming pool is immersed in the lake. The technical room of the pool is under water.  Courtesy of Pierre Minassian architecte + AUM architecture The house was mainly built with raw materials. The floor of the house is in white concrete except for the bedrooms, study rooms and living-room where there is wooden floor. The curtains are automated and slide around the house.  Courtesy of Pierre Minassian architecte + AUM architecture The building site In order to respect the environment and ecosystem of the lake we had to build a dyke around the building site to empty the area around the house.  Courtesy of Pierre Minassian architecte + AUM architecture Environment It is a low energy house. Geothermal energy is used to heat the house 50 kw / m². The sources of energy used in order to heat or cool the house are geothermal energy combined with a Canadian well and solar panels. For the summer, the house includes a cooling system which uses the water from the lake.  This posting includes an audio/video/photo media file: Download Now |
| DESINO Eco Manufactory Office / Ho Khue Architects Posted: 05 Sep 2017 03:00 PM PDT  © Hiroyuki Oki
 © Hiroyuki Oki From the architect. Ho Khue Architects presents Desino Garment and Accessory production facility consisting of 3 buildings on 8000 square meters located in Vinh Loc A Industrial Park, Binh Chanh District, HCMC Vietnam. The intention was to provide high quality comfortable working conditions for workers in beautiful buildings with low cost cooling.  © Hiroyuki Oki The building was renovated from an old factory, abandoned and not used for a long time. The owner of Thai Duong Company requested to renovate this old factory into an ideal workplace for employees with naturally cool temperatures, a natural green space surrounded by many green trees and plantings. The open design accommodated office blocks for working design groups that allowed freedom of movement and sight to promote teamwork. This light and naturally cooled green space promotes high quality work.  © Hiroyuki Oki  Diagram 02  © Hiroyuki Oki This work was designed by Ho Khue Architects with a new concept to reduce the pressure of workers in the workshop. It instills a sense of fairness and accessibility to the board of directors and management for the factory workers. As predicted this workspace changed the dynamics of the company by extending visibility throughout, not dividing and separating with partition walls or closed rooms. Department managers and workers now see and freely interact with each other, eliminating the worker's feeling of work being always exploitative and unfair. This increases productivity.  © Hiroyuki Oki Office blocks designed blocks located in the heart of Factory 1 located near the main entrance of the campus workshop. Architects utilized single a column workshop to design the renovated space. In addition, we extended themselves outside the factory building structure design more 3m to reduce the monotony of the factory façade  First Floor Plan  © Hiroyuki Oki  Second Floor Plan The 2nd floor is designed for office space work, management and board of directors. Using glass walls throughout the factory promote workers directly connecting with each other and increased interactions. The 1st floor is a creative space for displaying samples, congregating and seating areas. Situated between gardens allows an uplifting and rehabilitating feeling for everyone. This is also appreciated by customers who enjoy seeing the production and creativity of the company and it's products.  © Hiroyuki Oki The two floors are connected by a large central atrium that stretches along the project. The effect is an expansive connection to nature. It also gives the customers the feeling of a collective dynamism in the company and it's employees.  © Hiroyuki Oki Wall coverings use ventilating bee stones allowing natural ventilation for the entire structure. A mixed garden of vining plants cover the façade reducing the penetration of the hot sunlight while reducing heat.  © Hiroyuki Oki Trees cover the buildings on the sides exposed to heavy sunlight creating a green look. This is a stunning and beautiful feeling for anyone coming to shop. Live plant covered walls help employees feel comfortable and to relax while working their best to produce high quality goods. The roof garden not only cools the building but additionally consists of vegetable gardens which support healthy food for workers' meals.  © Hiroyuki Oki Desino Vietnam sewing factory is a pioneering and daring statement. Thai Duong Company's message clearly focuses on a healthy and invigorating workspace interested in the feelings of it's staff and workers.  © Hiroyuki Oki  This posting includes an audio/video/photo media file: Download Now |
| House Komoro / KASA ARCHITECTS Posted: 05 Sep 2017 01:00 PM PDT  © Ikunori Yamamoto
 © Ikunori Yamamoto From the architect. This is a one-story residential house for a family of four―a couple and two children―and is built in Komoro City, Nagano Prefecture. With views of Mount Asama to the north and the Yatsugatake Mountains far south, I planned a simple one-story house with a shed roof and an open space on the south side. This property of about 450 m2 is in the shape of a flagpole, where the pole part accounts for 80 m2.  © Ikunori Yamamoto I decided to start with the plan for the environment―the placement and arrangement of the building and the design of the environment for the remaining 370 m2. I thought about how to achieve a design for people's lives to flourish as they interact with the site, carefully identifying each factor individually, such as the flow of movement to the grandparents' house located next door, handling the cold down wind from Mount Asama, preserving the view on the south side of the Yatsugatake Mountains in the distance, the connection to the outside of the property, the flow of air, etc.  Ground Floor Plan Then, by creating a configuration akin to a courtyard by arranging the building in an L-shape and arranging trees on the other side that had a slope to create a lush environment as well as a flow of movement to the grandparents' house, I aimed to create an environment connected to real nature where families could connect. As the cold winds from Mount Asama blow down through the site in winter, windows on the north side function more for ventilation purposes and a comfortable environment is created with air flowing through in spring, summer, and fall.  © Ikunori Yamamoto The eaves on the south side protrude by 1.2 m to block the sunlight during summer, and at the same time, the horizontal line of the eaves with a relatively low height gives a sense of stability to the building in general, and a sense of ease is created by having a low center of balance. In relation to the placement of the building, as the property has an unconventional shape of a flagpole, a welcoming environment and scenery were created in the hidden areas of the flagpole property by surrounding it with the building and trees.  © Ikunori Yamamoto As for the shape of the building, a good mix of connections between the private area, common area, and the exterior was achieved by making the building L-shaped. The sequence from the common area―the entrance to the kitchen―to the private area that lies beyond is nicely punctuated by the building's L-shape, while the two realms of the abstract and the figurative are bridged in a pleasing manner without any particulars alterations. With a design that fulfills various considerations such as comfort and openness, this house also embodies architectural elements that awaken people's imaginations.  © Ikunori Yamamoto  Section  © Ikunori Yamamoto  This posting includes an audio/video/photo media file: Download Now |
| KALM Bangsaen Hotel / junnarchitect Posted: 05 Sep 2017 12:00 PM PDT  © Beer Singnoi
 © Beer Singnoi From the architect. Bangsaen Beach is located approximately 100 km southeast of Bangkok and 40 km from Pattaya Beach. Although Bangsaen is not the most popular destination of foreigner tourists comparing with Pattaya, the beach is often crowded with tourists, especially Thai families on weekends and national holidays. The beach now attracts those who enjoy strolling along the long sandy beach and tasting the delicious seafood available from street vendors along the promenade. Not too far, opposite side of the site, It is the public space where is the node of lively activities of local people and also tourists. It is clearly seen that the siteis not situated in the super tranquil natural environment but surrounding with the colorful activities and the sea where has potential to create a place for experience with the fantastic views of nature.  © Room Magazine  Diagram  © Beer Singnoi The site is approximately 18x60 meter which is quite very narrow and long shape. The width side is facing to the sea, therefore it is absolutely impossible to create every units to be the sea view room type and it might be able to create only small numbers to achieve that sea view type if it was designed with the conventional way of unit organization .The question is how to make the dwelling units perceiving the surrounding environment as many units as possible and also create the recreation space which potentially create recreation activities and grant the nice views to the other units. The hotel was designed to organize dwelling units along the curve trajectory in the front part which could create and maximize the numbers of sea view room type almost 50 percent of all units in this hotel and the rest could receive the relaxing view from linear swimming pool of the hotel. This four stories hotel is not literally stacking in the same system but the dwelling units of each floor were gradually shifted into more or less brick-like formation. With this special system of the unit organization the dwellers of each unit could be able to discover the different view of surrounding environment and at the same time the building itself could expose the spatial organization through the façade without any decorative elements.  © Beer Singnoi  Diagram  © Room Magazine Moreover, the designed space at the ground level is related to the way of living in traditional Thai house which is elevated a bit from the public outside and designed with no wall in order extend boundary and activities between inside and outside. With this extroversion ,architectural design idea, it may create the friendly and welcome space as an urban lobby of the hotel and the people who accommodating in this space could reveal the sense of place, the colorful environment and the beauty of Bangsaen beach. According to the formation following the gentle curve trajectory, the tropical green court was emerged in the middle of the lobby and the small pockets of tropical landscape creating the sense of symbiosis between human and nature and difficult to define the border of living inside or outside with nature. Another fascinating space of the hotel providing to the customer is the Horizon Sky Bar where people can have a great experience of natural scene of the sea at Bangsaen Beach on the roof top of the building. Although, the hotel is providing with a wide range of public recreation spaces and activities, all dwellers in the private space of every units could be able to perceive and be inspired by the tranquility of nature which would lead to the sensorial aesthetic or even the meaning of life being with nature.  © Beer Singnoi  This posting includes an audio/video/photo media file: Download Now |
| Pájaro de Plata House / OsArquitectura Posted: 05 Sep 2017 10:00 AM PDT  © Fernando Alda
 © Fernando Alda From the architect. The House sits on a mountain top in a remote beach town called Playa Negra. It is a vacation home for a New York couple that was interested in a home away from home that not only adapted well to its surroundings but was instrumental to understanding them.  © Fernando Alda The house takes cues from local vernacular constructions of the area which in the architect's opinion insert themselves in what Gilles Clément calls the third landscape; going with rather than against natural conditions.  © Fernando Alda Notable features of the project are its ambition to encompass the entire site and thus it has an exploded floor plan. The fragments of the floor plan are connected by means of land terraces that hint traces of a Mesoamerican past; its roofs attempt to stretch between structures to the point where its materiality becomes translucent.  © Fernando Alda  Ground Floor Plan  © Fernando Alda The house is large but it is also small, the roof is big but it is also light. Its absence of glass, filtering of natural light, and play with the wind, do not allow for separation between house and its landscape.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 05 Sep 2017 09:55 AM PDT  © Dominique Perrault SUBLABEPFL x EWHA Currently on display outside the Zaha Hadid-designed Dongdaemum Design Plaza as part of the 2017 Seoul Biennale, the Groundscape eXPerience Pavilion is a 30-meter-long steel grid structure featuring a sequence of 28 experiments of underground architecture by 60 university students from Swiss Institute of Technology (EPFL) and EWHA Women's University (Seoul, South Korea). Led by professor Dominique Perrault, the installation is a scale model of the 2.7 kilometer Seoul city central Euljiro underground gallery, an underutilized market space in the city center. The 28 "urban fossils" explore possibilities for the revitalization of the gallery, reimagining the structure as an urban link that is part of a larger "network of urban substance and material."  © Dominique Perrault SUBLABEPFL x EWHA The exhibition is an extension of Perrault's research of what the architect refers to as "Groundscapes" in his publication of the same name from 2016. The designers explain the concept: In architecture, when we want to separate the outside from the inside we build walls and above them a roof and by this we draw a line between two spaces, one remaining open while the other is enclosed.  Groundscape Fictions - Seoul. Image © DPA It is the same when we represent the independence of air and earth. By drawing this ground line that separates above from below, we inadvertently use a model for representing reality, which, in fine print, expresses the only thing that does not exist.  © Dominique Perrault SUBLABEPFL x EWHA  © Namgoong Sun However, below this simple ground line hides a universe of possibilities. The perception of the underground of cities may well raise concerns at first, as we imagine it dark, damp and uncomfortable. But if we go beyond this fantastical prejudice, we will find another image of the underground, one that is more physical and sensitive. The Groundscape offers a potent catalyst for urban networks, a naturally ideal thermal inertia, an unrivalled respect for the landscape, an elegant enhancement of our architectural heritage, and a unique palette of lights.  Groundscape Fictions - Tokyo. Image © DPA  © Dominique Perrault SUBLABEPFL x EWHA Furthermore, this frontier is economically at reach, as above all it holds a vast reserve of real estate. For developers, the Groundscape opens the possibility of expanding a building with respect for the context. For authorities, it is a major source of revenue as it opens up new sites in central locations. This place of resources allows the intensification of urban life without adding density. The Groundscape is an underside of the world, it is what we would see when diving if the ground was like the ocean and cities like vessels on its surface. The Groundscape is a landscape of a different nature, which extends the latter and broadens our world.  © Dominique Perrault SUBLABEPFL x EWHA The inaugural Seoul Biennale of Architecture and Urbanism is curated by Hyungmin Pai and Alejandro Zaera-Polo. Learn more about the event, here.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 05 Sep 2017 09:00 AM PDT Last year we had the honor of visiting the incredible bamboo world created by John Hardy and his tribe in Bali, Indonesia. After visiting houses, a school, a hotel, some bridges, factories, a permaculture farm, an architecture office and many other structures created in bamboo, we were left speechless and not sure how to react. Having emigrated from Canada aged 25, and after a successful 20-year career as a jeweler, John Hardy started out on a project that was very different to anything he had done before. Determined to find a system of building that was more natural and sustainable than standard building techniques, Hardy developed a system of building with bamboo that many now recognize as among the world's most successful (and beautiful) examples of sustainable craftsmanship. In recent years, Hardy's expertise has received global exposure, leading to TED Talks by John in 2010 and by his daughter Elora Hardy in 2015. What has been developed in Bali goes far beyond just "innovative architecture" or "architecture in bamboo." Instead, Hardy, his family, and his colleagues are attempting to bring about a new way of inhabiting this planet—a way that is truly sustainable, respectful of the environment and responsible with resources. Their technique can be used to build houses, schools, bridges and almost any other type of structure. And, if used according to the system that the Hardys have developed, these buildings can last several decades, contributing a solution to the growing problem of scarce resources and the unsustainable way in which we exploit them. The Hardys are also dedicated to teaching those who wish to learn about how to design and build sustainably. They have done so through initiatives such as their partnership with the AA in London, where they have conducted a series of popular workshops, or through permaculture courses taught in Kul-Kul farm, managed by Orin Hardy and Maria Farrugia. After having witnessed this project we believe that, with conviction, it is possible to create new ways of inhabiting our planet. We sincerely hope this interview transmits Hardy's conviction and hope. Bamboom: Elora Hardy's TED Talk on Bamboo's Exploding Popularity  This posting includes an audio/video/photo media file: Download Now |
| Pueyrredón 1101 Building / Pablo Gagliardo Posted: 05 Sep 2017 08:00 AM PDT  © Ramiro Sosa
 © Ramiro Sosa From the architect. Residential building located at the intersection of two tree-lined and busy streets, a few meters from the main avenues and university centers of the city of Rosario, with an ideal environment for young people and students. The corner land, with north and west orientation, and the city regulations allow the total occupation of the lot, ventilating all the rooms to the two fronts.  © Ramiro Sosa Its structure, made of seen concrete shuttering with wooden boards, allows a pattern of empty and full, generating double heights and cross visuals that besides allowing large wooden balconies, privilege the quality and the natural illumination of the interior environments.  © Ramiro Sosa A double height entrance is projected, as a continuation of the public sidewalk with abundant vegetation and a bicycle rack for the use of its inhabitants, favoring life in contact with nature. In this way, entrance to the building takes place through a large "inner plaza". This space links public life and private life, providing permeability and urban connectivity, through its journey and spatial and visual continuity.  © Ramiro Sosa  Pair Floors Plan  © Ramiro Sosa The wet cores form a common part embedded in the central sector of the plant to free the space of internal use, allowing the flexibility of the spaces, as well as the different permitted uses, such as living or working. The design of the units is stripped and net, so that each one has the added value on its balcony, posed as a continuous environment in relation to the interior. As a finish, the project has two levels with terrace and own swimming pool, allowing impressive panoramic views of the city.  © Ramiro Sosa  Sections  © Ramiro Sosa  This posting includes an audio/video/photo media file: Download Now |
| House AA315 / BERNARDI + PESCHARD & BLANCASMORAN Posted: 05 Sep 2017 06:00 AM PDT  © Rafael Gamo
 © Rafael Gamo From the architect. As per our agreement with the client, all the programme in Level 1 is open to the garden.  © Rafael Gamo Only specific areas like the dining room , the family Room, the Kitchen that require a specific degree of privacy and containment are enclosed in volumes.  © Rafael Gamo The rest of the program takes place on a concrete platform sitting gently on the grass.  © Rafael Gamo  Ground Floor Plan  © Rafael Gamo This platform serves as concourse, entrance lobby, living room and terrace where the space flows freely connecting the interior space with the garden.  © Rafael Gamo The main stair of the house is located in the double height corner of the L-Shape serving as a connection between the social and private areas of the house. The Level 2 takes advantage of the L-Shape to divide the private areas in 3 sections.  © Rafael Gamo The left wing is occupied by the Master Bedroom with the bath room and dressing room, the right with is occupied by the 2 bedrooms and the TV room and the corner of the L-Shape is occupied by the stair lobby and Guest Room. This arrangement guaranteed the privacy of the bedrooms and created a meeting point for the family in the crossing of the 2 wings.  © Rafael Gamo  This posting includes an audio/video/photo media file: Download Now |
| MVRDV Breaks Ground on Mixed-Use "Valley" to Inject Life into Amsterdam's Business District Posted: 05 Sep 2017 05:00 AM PDT  © Vero Visuals / MVRDV MVRDV has broken ground on "Valley" (previously known as P15 Ravel Plaza), a 75,000-square-meter mixed-use building located within the Zuidas business district of Amsterdam. Featuring residential units, offices, parking, a sky bar and retail and cultural space, the building will inject a sense of life and excitement into the neighborhood, transforming the district into a more varied and liveable urban quarter.  © Vero Visuals / MVRDV The project takes the form of green-terraced stacked boxed that rise to three peaks of different heights, the tallest capping out at 100 meters with the two-story Sky Bar. These residential towers sit on top of a publicly-accessible plinth, where a pedestrian path runs from street level up along terraced roof gardens to the central valley area on the 4th and 5th floors that features a year-round landscape designed by Piet Oudolf. Clad in a carved natural stone facade, the form has been parametrically designed to allow sunlight to penetrate throughout all of the complex's 196 apartments, all of which feature a unique floor plan. Driven by the concept of transition between the existing business typologies and the new mixed-use structure, MVRDV set out to create an outward looking structure that was both respectful of its neighbors and boldly innovative.  © MVRDV  © MVRDV "By placing the residential volumes on top of the multifunctional plinth and pushing them to the very edge of the envelope, the resulting volume reads as one single entity. In mirroring the corporate surroundings through its reflective exterior façade, the design acknowledges its corporate heritage and visually connects to its immediate neighbours," explain MVRDV. "In direct contrast to this, the inner façade is defined by a series of rugged, stone terraces with large planters, covering the building in vegetation and bringing a sense of human scale to the volume. Through this opposing treatment of the facades, the duality of the resulting volume, which is reminiscent of a carved out block, is expressed: The corporate vs the residential. The XL vs the human scale.  © Vero Visuals / MVRDV "Valley combines residential apartments with a green environment that offers panoramic views of Amsterdam," added Winy Maas, MVRDV co-founder. "A lively plinth offering a range of commercial activities has some offices above and is topped finally with residences. The carving out of the resulting block ensures that it becomes less introverted than existing buildings in the Zuidas. There will be many terraces, both private and public, filled with people, flowers, plants and outdoor seating." With construction now underway, the project aiming toward a BREEAM-NL Excellent rating for sustainability upon completion in 2021. Learn more about the project here. News via MVRDV.
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| Emerald Hills Leisure Centre / MJMA + MTa Posted: 05 Sep 2017 04:00 AM PDT  © Shai Gil
 © Shai Gil From the architect. The Emerald Hills Leisure Centre caters specifically to leisure, therapeutic, and learn-to-swim programming. The facility is co-joined to an existing Catholic High School with an operating partnership to create a shared 'Community Centre' as well as aquatic programming for students.  © Shai Gil The aquatic hall and lobby are conceived of as a singular sculpted volume that defines the new social hub of the community. The existing gymnasium, auditorium, and classrooms are shared with the aquatic facility to create a vibrant evening community center for the greater community. The County maximizes utilization of both the pool and the school with joint use agreements with opportunities to connect for rehabilitation and therapy, given the proximity to a new hospital complex.  Ground Floor Plan The aquatic center includes a 6-lane 25-metre lap pool, adjustable floor therapy pool, tot pool, whirl pool, and steam room. The facility features a fully transparent gender-neutral universal change room accessible and inclusive for all. An upper level 'shell space' is provided above the change rooms as a future fitness center.  © Shai Gil Formally the building is a simple and affordable 'big box' volume designed to have a sense of lightness and dynamic movement. The building's trapezoidal plan is created by maximizing the buildable footprint to the site setbacks. The mono-slope roof drains diagonally to provide maximum natatorium volume, and clerestory daylighting with a low height to the rear courtyard.  © Shai Gil White triangulated standing seam panels float above a black pre cast base and incorporate four triangulated glazing locations. Interior acoustic surfaces and ceiling are triangulated above a black hexagonally tiled base to create a serene, unified and high-quality sonic environment.  © Shai Gil Responding to the Northern Alberta climate the building's triple glazed openings are minimized to four strategic locations and shaped to maximize their effect. The amount of glazing is specifically located low at deck level for views to landscaped areas to the west and located high on the front elevation to bounce light off the ceiling structure — resulting in maximum low-glare lighting distribution.  © Shai Gil A key building feature is the filtration system — a salt-water German Wapotec system that has a lower than normal chlorine requirement. The HydroSan flocculant filtration process removes organics to achieve European DIN standards, providing the highest level of water clarity and air quality.  © Shai Gil  This posting includes an audio/video/photo media file: Download Now |
| How a Novel Saved Notre-Dame and Changed Perceptions of Gothic Architecture Posted: 05 Sep 2017 02:30 AM PDT  © <a href='https://www.flickr.com/photos/kosalabandara/17395160431/'>Flickr user kosalabandara</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> This article was originally published by Common Edge as "It's a Book. It's a Building. It's a Behavioral Intervention!" A few years ago, while visiting, or rather exploring, Notre-Dame, the author of this book found, in an obscure corner of one of the towers, this word carved upon the wall: 'ANÁΓKH These Greek characters, black with age, and cut deep into the stone with the peculiarities of form and arrangement common to Gothic calligraphy that marked them the work of some hand in the Middle Ages, and above all the sad and mournful meaning which they expressed, forcibly impressed the author. The word carved upon the wall means fate. Thus begins Victor Hugo's tragic romance, Notre-Dame de Paris, published in 1831. Many regard the story as a warning against judging people by their appearance or status. The protagonist, Quasimodo, born monstrously deformed, was given to the church to raise. The novel's antagonist, Notre-Dame's Archbishop Claude Frollo, assigns the growing boy the role of bell-ringer. Later, adoptive father and adopted son fall in love with the same girl, a mesmerizing sixteen-year-old street dancer named Esmerelda. Frollo ultimately betrays Esmerelda, while Quasimodo tries to save her. The monster turns out to be the hero, but he's too late. Esmerelda is hanged for a crime she did not commit. In anger, Quasimodo throws his father off the roof of Notre-Dame cathedral and spends the rest of his days hiding in the cemetery where Esmerelda is buried, mourning. Renamed The Hunchback of Notre Dame when published in English, the novel reverses today's standard hero-overcoming-the-monster trope. But the book isn't really about a deformed boy trying the save the life of a beautiful girl. The Hunchback is a Gothic novel about a Gothic building. The story's moral focus is Notre-Dame cathedral. Architecture sets the stage, backdrops the major characters, and forever binds their fates. The story's central character isn't a person; it's a building, which Hugo considered sentient.
 © <a href='https://www.flickr.com/photos/la_bretagne_a_paris/14828158229/'>Flickr user la_bretagne_a_paris</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> Gothic architecture evolved from the Romanesque around 1100 AD and reached its height in the mid-1400s. In the 1800s, when Hugo wrote his book, Gothic had given way to the Renaissance. By then Parisians considered medieval buildings vulgar, deformed monstrosities. Calling a building Gothic was an insult, a reference to Goth and Vandal Germanic tribes considered barbarians. Paris' Gothic history was being torn down in the name of more respectable, if not more profitable, projects. Hugo was alarmed. He believed architecture had reached its pinnacle during the Gothic era, writing, "Indeed, from the beginning of things down to the fifteenth century of the Christian era inclusive, architecture was the great book of humanity, the chief expression of man in his various stages of development, whether as force or as intellect." He loved Gothic Paris and wanted its structures preserved. Notre-Dame's towers, he argued, were symbols of a glorious past. For Hugo, Renaissance architects and their buildings had nothing to offer. But Notre-Dame in 1829 was crumbling. The cathedral was used a gunpowder factory during the 1789 – 1799 French Revolution and heavily damaged. Its largest stones were earmarked for bridge foundations. Hugo feared that, like so many of the city's other Gothic structures, Notre-Dame would soon be demolished. He wrote:
Hugo decided to do something about it, becoming one of the world's first historic preservationists outside of private collectors. "A universal cry must finally go up to call the new France to the aid of the old," he said in an editorial declaring war on the "demolishers." (Guerre aux demolisseurs!) His pen was mightier than any sword. The novel, Notre-Dame de Paris, was published in January 1831 to critical acclaim. The book's success brought thousands of French from the countryside and other cities to Paris to visit the building Hugo so lovingly described. They wanted to see firsthand where Quasimodo leaped to save Esmerelda from the gallows, where Frollo conspired with the King of France, where a sad soul carved fate in a tower wall. What the public found was a cathedral in danger of collapse. As Hugo anticipated, readers concluded Parisians didn't appreciate the building's heroic inner beauty, its strength, its character. Quasimodo was a metaphor for the building, which wasn't lost on the novel's fans. The public outcry to save Notre-Dame Cathedral was deafening and defining. Restoration began in 1844.  © <a href='https://www.flickr.com/photos/davehamster/8164290385/'>Flickr user davehamster</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Hugo's historical story is still in print, 186 years later. No reliable sales figures exist, but tens of millions likely have read the book. The novel has been translated worldwide, including multiple English versions, and adapted to more than 50 films, television, ballet, stage, musical theater, radio theater, music scores, and video game productions. Today, it's hard to separate book from building. Novel and cathedral are so intertwined, so reinforcing of each other, they've become inseparable. It's a magical relationship that architects would do well to study. Hugo wrapped a stealth behavioral intervention inside a love story embedded in architecture. Like nested Russian dolls, Notre-Dame de Paris is a story within a story within a story. Outwardly, it's save the girl. Inwardly, the hidden payload is save the building. Hugo wedded narrative to architecture and fermented intrinsically motivated behavior change on a societal scale, turning local apathy into public action. Imagine what might have become of New York City's Penn Station had Harper Lee or J.D. Salinger written a 1960 best-seller persuasively set in the great terminal.  © <a href='https://www.flickr.com/photos/adam_skowronski/10894637916/'>Flickr user adam_skowronski</a> licensed under <a href='https://creativecommons.org/licenses/by-nd/2.0/'>CC BY-ND 2.0</a> Notre-Dame, one of the world's first Gothic cathedrals and among the first to use flying buttresses, was completed in 1345. Almost 500 years later, the fact that the building was an artistic masterpiece and engineering marvel no longer mattered. By 1830, Notre-Dame was doomed—until a fictional story transformed the relic into a national treasure. The lesson for the design community is clear: a building without an engaging oral, prose or graphic narrative is meaningless and eventually forgotten. Architecture is more than an empty shell to be filled—it's a story to be told. And an ironic ending never hurts. There is speculation that Hugo based Quasimodo's character on a real person, a French sculptor born deformed and nicknamed Le Bossu (French for the hunchback). Le Bossu lived in the 6th arrondissement, not far from the cathedral. Hugo was a frequent visitor to Notre-Dame, so it's possible he'd seen Le Bossu in the area, perhaps knew him, maybe even helped him win a commission. Le Bossu was hired for the cathedral's restoration project, poetically completing the story's heroic arc. Richard Buday is an architect, writer, and educator with 20 years experience in behavior research. His Houston-based firm, Archimage, has won dozens of awards for buildings, interiors, short films, broadcast television commercials, and interactive media.  This posting includes an audio/video/photo media file: Download Now |
| House ACP / Candida Tabet Arquitetura Posted: 05 Sep 2017 02:00 AM PDT  © Fran Parente
 © Fran Parente From the architect. Nestled longwise into the site and arranged in a semi-circle plot, this one main storey, a mezzanine and an annex playroom house designed for a couple and two children focuses on leisure and family life.  © Fran Parente Following client expectations, it plans to maximize the beautiful view to the horizon and to emphasize circulation between the different rooms promoting conviviality, contemplation and inviting to idleness.  © Fran Parente The design composition gains rhythm through the mix of the standard ceiling height of the aligned bedrooms area and the double ceiling height of the social area with a mezzanine placed at its center. In addition to the aesthetic function, the great ceiling height potentiates crossing ventilation and allows hot air to rise improving thermal comfort.  © Fran Parente The ACP house is structured by a striped pattern of wood porches and beams of sustaina-ble solid Cumaru wood. The roof was built with processed boards and waterproof mem-brane in order to avoid the use of water and provide faster construction.  © Fran Parente This architecture overtakes the traditional concepts by the interaction between indoor and outdoor thanks to the pool set up against the glass curtain wall that makes up the facade and transforms the living-room into a large terrace once it is completely folded, overlooking the golf course. The mezzanine placed between living and dining room, above the TV room, also facing interior and exterior, offers a quite reading area with a panoramic view.  © Fran Parente With its outstanding proportions (2,5 meters wide by 45 meters long), an unique longitudinal gallery generates a section between social and private areas promoting a promenade full of architectural scenes coming from the exposed wood structure, the detached volumes with generous amount of transparency and invasion of sunlight.  © Fran Parente The house asserts a contemporary and elegant interior design with white walls contrasting with the yellowish of Cumaru wood panels and structure. The floor finishing is light grey cement and the fireplace and the stair are made of dark steel.  © Fran Parente  Site  © Fran Parente Some furniture is bespoke, like the dining room cupboard and closets; others such as the dining table and benches are made with left over wood from the house construction.  © Fran Parente Bathroom follows the minimalist color palette: walls are covered with dark grey cement, the wall mounted sink and niches are built in grey limestone and the shower’s box floor is cov-ered with brown river pebble.  © Fran Parente A large zenithal frame brings sunlight into the space.  Sections The decoration and the finishes were planned for intense use with no restriction for “vivid” children; therefore seats were upholstered with Sunbrella® fabric and nautical rope making everything simplified and practical.  © Fran Parente  This posting includes an audio/video/photo media file: Download Now |
| Spot the Symptoms of Someone With an Architecture Affliction Posted: 05 Sep 2017 01:00 AM PDT  Courtesy of The Leewardists In order for doctors to make a diagnosis, a patient needs to show symptoms. But what if the affliction in question isn't an illness, but an extraordinary lifestyle? Almost everyone can agree that architecture brings with it a distinct way of living. The grueling hours, sharp design sensibilities and studio experience shape more than what we make – they define who we are as people. Architecture's quirks and eccentricities become our adopted quirks and eccentricities. When it comes to spotting an architecture student on campus, it's more than our clothes that give us away. Comic illustrators The Leewardists have drawn up some classic symptoms that serve as dead giveaways – check them out below: Centuries of civilizations built on structures designed by architects and yet, their voice is lost among the countless stories of rulers and armies and sometimes wondrous monsters. The Leewardists are rewriting the contemporary history of our civilization through the voice of this elusive being, The Architect. For more of The Architect Comic Series follow them on Facebook, Instagram, or visit their website.  This posting includes an audio/video/photo media file: Download Now |
| Sneak Peek: MAD's Chaoyang Park Plaza Project is Almost Complete Posted: 04 Sep 2017 11:00 PM PDT  © Khoo Guo Jie/Studio Periphery If you follow MAD Architects on social media, the chances are good that in recent months you've seen a number of updates regarding their Chaoyang Park Plaza project in Beijing. Located at the southern edge of the largest park in Beijing, the project comprises a complex of 5 buildings, including a pair of asymmetric towers that reach 120 meters tall. Now, with the building almost complete, photographer Khoo Guo Jie of Studio Periphery has provided us with this sneak peek of the project.  © Khoo Guo Jie/Studio Periphery The Chaoyang Park Plaza project is the most complete realization yet of MAD founder Ma Yansong's "Shan Shui City" vision, which takes inspiration from traditional Chinese landscape painting to propose an artificial landscape that, in Ma's words, creates a "future-high-density urban environment focused on people's emotions: what they feel and what they see." The project's location was ideal for this concept, as the park's Nanhu Lake provides the water ("shui") to balance the "mountains" ("shan") created by the project.  © Khoo Guo Jie/Studio Periphery  © Khoo Guo Jie/Studio Periphery  © Khoo Guo Jie/Studio Periphery  © Khoo Guo Jie/Studio Periphery  © Khoo Guo Jie/Studio Periphery  © Khoo Guo Jie/Studio Periphery  © Khoo Guo Jie/Studio Periphery
An Interview with MAD Architects' Ma Yansong: Constructing Icons, Identity & China's Future Cities  This posting includes an audio/video/photo media file: Download Now |
| Hegnhuset Memorial and Learning Center / Blakstad Haffner Arkitekter Posted: 04 Sep 2017 10:00 PM PDT  © Espen Grønli
 © Are Carlsen From the architect. Hegnhuset is a learning, communication and memorial house for the brutal incident that happened on July 22 on Utøya. The building contains a story of both survival and death: We have preserved the parts of the building that were directly affected, while at the same time retaining the restrooms that served as safe hiding places.  © Are Carlsen Over the remains of the old cafe building a second building envelope was added as a protective cover. The new building body was laid in a distorted angle, in the same axis as the other new buildings we have erected on Utøya. It is carefully placed to avoid the places where people lost their lives. It represents and clarifies change, a new historical layer and a new chapter on the island's history.  © Are Carlsen 69 pillars of wood that support the building's roof defines the room and represent those who died on July 22nd. Around these 69 columns there are 495 smaller outer poles which create a safe, guarding fence around the interior. By number it represent those who survived the tragedy on Utøya and who will carry thoughts and memories of this day for the rest of their lives.  First Floor Plan  Second Floor Plan The corridor between the outside fence and the inner columns emphasizes the feeling of being trapped, but apparently free. To enhance the feeling of uncertainty, the openings in the fence are placed randomly. To create a sense of security and flow between the building and the landscape there are five entrances to the building.  © Are Carlsen The brutal incident is accentuated. The fenced house is not polished and consists of coarse untreated natural materials in wood and concrete. The ceiling height is 8 meters at the highest.  © Espen Grønli On the top floor are the remains of the old cafe building, with intact bullet holes through the walls and the furniture, and with open windows that show the escape routes. Under the old cafe there is dug out a space for a learning and information area, designed by Atle Aas and Tor Einar Fagerland. The old staircase between the old cafe building and the new structure creates a visual link between the memories of July 22 and the learning zone around the house.  © Are Carlsen Blakstad Haffner has worked with AUF (Arbeidernes Ungdomsfylking, the Norwegian Labour Party's youth organization) on the development of Utøya as a camp site since August 2011, and is still working on the continuous process of rebuilding Utøya as an important political workshop.  © Espen Grønli  This posting includes an audio/video/photo media file: Download Now |
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