Arch Daily |
- HOUSE 01 / GAB
- Arena Aix / Christophe Gulizzi Architecte + Auer Weber
- TIKKU Micro-apartment / Marco Casagrande
- WIX.COM Office in Vilnius / INBLUM
- Sinkhuis House / Slee & Co Architects
- Apartment #114 Tokyo's West / G architects studio
- Yi Chen Hotel / Li Yizhong Interior Design
- Fairy Tales 2018: Architecture Storytelling Competition
- Hightail Bar / Technē Architecture and Interior Design
- Unique Scaffolding System is Lifted into Place for Olson Kundig's Space Needle Renovation
- Bund Finance Centre / Foster + Partners + Heatherwick Studio
- Materia Completes Concrete and Wood Pavilion for Design Week México 2017
- Bigwood / Olson Kundig
- Winners Announced of Inaugural WAFX Prize for World’s Most Forward-Looking Architectural Concepts
- Faculty of Fine Art, Music and Design of the University of Bergen / Snøhetta
- From Cubicles to Hot-Desks, Here Are the Origins of the Open-Plan Office
- Carroll House / LOT-EK
- Students Design Temporary Furniture for Victims of Displacement
- The 10 Different Ways to Measure a Skyscraper's Height
| Posted: 12 Oct 2017 10:00 PM PDT  Courtesy of GAB
 Courtesy of GAB From the architect. House is located in extraordinary place. Big, folded plot is surrounded with woods in protected area Natura 2000. Realization is an attempt to deal with archetypical form of pitched roof house with strong and beautiful context.  Courtesy of GAB Form  Courtesy of GAB Function The symmetrical layout of the bedroom allows to separate the guest part from the private one, creating a central living room. Concrete, open on two sides fireplace plays the role of the heart of the home, bringing together the life of the household members. .jpg?1507785380 "Floor Plan") Floor Plan Inside-out Relation .jpg?1507785358 "Courtesy of GAB") Courtesy of GAB Materials  Courtesy of GAB Budget  Courtesy of GAB Ecology  This posting includes an audio/video/photo media file: Download Now |
| Arena Aix / Christophe Gulizzi Architecte + Auer Weber Posted: 12 Oct 2017 08:00 PM PDT  © Lisa Ricotti
 © Lisa Ricotti From the architect. The Arena of Aix en Provence carries its own identity, represents a new gateway for the city, a powerful signal. It instates plainly in this wide territory, providing and following a hill shape project. It brings to light the site, offers its very essence.  © Lisa Ricotti Sport has turned now into primary events and meaningful shows. The symbol of a building intented to provide such events has to personify this concept. An Arena is a contemporary theater, a link between sport and culture. In a delightful and emotional architecture spirit.  © Lisa Ricotti In that respect, the idea of a classic facade has desappeared, to reveal a stratification of superimposed and dynamics rings.  © Lisa Ricotti This protective covering represents an alegory of mouvement and energy. A praise of virtuosity, a conquest of the balance, searching for the perfect gestual.  © Lisa Ricotti  2nd Level Plan  © Aldo Amoretti This protective shell, made off aluminium strips, reflects the surrounded landscape, according to the mood of time.  © Lisa Ricotti It merges into its surroundings, gently imposes its geometry and its status of Public Building, wide opened on an esplanade, a true public place.  © Lisa Ricotti Visible and with a marked identity, this is a real identification subject, an icon. In the heart of a territorial arrangement, this functional, adaptable and scalable shell, will contribute, by its iconographic merit, to the radiances of Metropole Aix Marseille.  This posting includes an audio/video/photo media file: Download Now |
| TIKKU Micro-apartment / Marco Casagrande Posted: 12 Oct 2017 07:00 PM PDT  © Jenni Gästgivar
 © Nikita Wu "Tikku ('stick') can be built in one night. It takes a stand for the urban planning of the future: as cities grow denser, there is a need to find more agile ways of building and spatial solutions. In an insightful way, Tikku demonstrates the development of cities and a future vision of combining different spaces. A dense urban structure that combines different purposes offers new opportunities for developing communality and brings life to cities when buildings can also be used outside of office hours. A micro apartment building also sets for us an example of a future," says Anita Riikonen, Marketing and Brand Manager at Sponda.  Sketch TIKKU is a micro-apartment building with a foot-print of one car parking place 2,5 x 5 meters. It is assembled out of CLT cross-laminated timber spatial modules and can be erected on site overnight at any car-city of the world. Where ever a car can go, Tikku can grow.  © Jenni Gästgivar Tikku is a safe-house for neo-archaic biourbanism, a contemporary cave for a modern urban nomad. It will offer privacy, safety and comfort. All the rest of the functions can be found in the surrounding city.  © Jenni Gästgivar Tikku is a needle of urban acupuncture, conquering the no-man's land from the cars and tuning the city towards the organic. Many Tikkus can grow side-by-side like mushrooms and they can fuse into larger organisms.  © Jenni Gästgivar Tikku is self-sufficient. It produces its own energy with solar panels and it has dry toilets. Fresh water is carried in. Showers, saunas, laundry machines and food is around. Modern man has to die a bit in order to be reborn.  © Nikita Wu CLT is 5 times lighter that reinforced concrete. With normal streets Tikku does not require any foundation, it will just simply stand on the street. There is a sand-box in bottom balancing the building. 10 cm CLT is plenty for the structure and 20 cm CLT is sufficient even for cold winters. No added insulation is needed.  © Jenni Gästgivar The functions and combinations of the spatial modules are endless. For example: room, green-house, office, shop, kitchen, sauna, dojo, workshop, hotel-room, knitting etc.  © Nikita Wu The first 1:1 scale prototype of the Tikku was realized for the Helsinki Design Week 2017 outside of Atheneum in the heart of Helsinki. This Tikku had 3 floors: sleeping, working and green-house. "Without his Tikku, modern man is just a common ape."  This posting includes an audio/video/photo media file: Download Now |
| WIX.COM Office in Vilnius / INBLUM Posted: 12 Oct 2017 05:00 PM PDT  © Darius Petrulaitis
 © Darius Petrulaitis From the architect. WIX.COM third office in Vilnius was inspired by Vilnius Old town heritage, where arches, structural elements of the period, formed a special townscape with a distinct ambience. The premises contain remains of an ancient arched wall that has been fixed and left on display as a background for new interior lines.  © Darius Petrulaitis The structure of the new office space was conceived by introducing a number of arch-type volumes and various partitions thus forming spaces for different office activities. Altogether the structure formed a melodic ensemble of human scale spaces easy for people to be in.  Floor Plan The work space, which could be called semi-open, provide both privacy and community feeling for the employees. Different from the white and round architecture of the work space, the inner meeting spaces are clad in wooden panels mixed with soft acoustic boards and are arranged in a rectangular pattern.  © Darius Petrulaitis  This posting includes an audio/video/photo media file: Download Now |
| Sinkhuis House / Slee & Co Architects Posted: 12 Oct 2017 03:00 PM PDT  © Will Punt - Peartree Photography
 © Will Punt - Peartree Photography 'n Plaasdorpshuis - Our brief was simple - create a home where you are constantly aware of the beautiful mountains surrounding us, the reason we gave up city life.  © Will Punt - Peartree Photography As architect and client I could explore my intense appreciation for our local honest farm structures, and use it as inspiration for our new home. The simplicity of the functional corrugated structures found on every farm in South Africa and the honest use of local raw materials.  © Will Punt - Peartree Photography The house is designed on a property that borders on a Nature Reserve to the north and being on the historical bank of the Eerste River is slightly raised, this allows for uninterrupted views over the tree tops onto the magnificent mountains surrounding Stellenbosch.  © Will Punt - Peartree Photography The design consists of four simple 'corrugated' shed structures linked with local stone 'kraal' walls. The steel structures are carefully positioned to capitalise on north orientation, maximise on the mountain views and to shield against the Cape winds. These steel structures and the stone walls are carefully manipulated to capture the views from all the living and bedroom spaces. Dormer window position and sizes are determined by the height of the mountains it is facing, stone walls sculpted and angled to acknowledge the views and to create protected courtyards.  © Will Punt - Peartree Photography Over scaled glass walls disappear into stone cavities transforming the living areas into a large open verandah. The house floats on a fynbos grassland bordering the Nature Reserve and to the south a loose packed stone terrace lead onto the 'farm' - the old tennis court converted into a working vegetable garden.  Ground Floor Plan Low maintenance finishes are used throughout. Careful attention was given to north orientation and carefully insulating all the structures, this is done to optimise the alternative energy systems integrated into the ceilings and wall construction. A solar roof over the north verandah heats the household water and the swimming pool in winter. "It is like living on a farm, our views are so carefully planned that we are not aware of anybody around us"  © Will Punt - Peartree Photography  This posting includes an audio/video/photo media file: Download Now |
| Apartment #114 Tokyo's West / G architects studio Posted: 12 Oct 2017 01:00 PM PDT  © Daisuke Shima /adhoc inc.
 © Daisuke Shima /adhoc inc. From the architect. This is a renovation project of a side corridor-type multiple dwelling house, first sold at the end of 1970s. The original layout was for a rather small three-bed room apartment*, which was typical for a condominium apartment during this period.  © Daisuke Shima /adhoc inc. The original layout was designed to optimize the economic efficiency and functionality from the developer's point of view – taking into account the standard lifestyle of the 1970s Japan. The layout was so clear that it was obvious as to where to put certain furniture in the living room, for example. However, such an "optimized" layout somewhat forced occupants to live the standardized life of the era, which seemed to limit the way they lived, and was experienced as rather suffocating.  Diagram Therefore, in this renovation project, we paid attention to the distribution of the living areas, and tried to liberate the space by distributing them without taking a particular lifestyle into account.  © Daisuke Shima /adhoc inc. For example, we first prepared four spaces in different sizes without pre-deciding the usage for them. The four spaces that don't have pre-destined purposes do not have anything that stipulates their relationship, and so we positioned them simply, according to the sizes of the spaces, one by one from the balcony side, and positioned the bathroom, changing room, toilet/bathroom - which have clear functions - in the left space.  Floor Plan The walls along the four spaces were built only to the longer side of the apartment in order to get light and ventilation. The wooden walls have made it possible for the occupants to use screws as they wish, and they have been designed to be used according to the occupants needs.  © Daisuke Shima /adhoc inc. And these wooden walls can act as a symbol for each space, so we made them to be something which appeal to the space by putting high gloss acrylic painting on the surface.  © Daisuke Shima /adhoc inc. As a result, the apartment becomes essentially one big space with four stand-alone wooden walls. We intended to create a living space which develops together with the occupants by providing flexible and undefined space that can adapt to the changes and needs of the occupants in the coming future. This is a different approach because it no longer forces occupants to use a given space in a way that a developer might have thought "optimal".  © Daisuke Shima /adhoc inc.  This posting includes an audio/video/photo media file: Download Now |
| Yi Chen Hotel / Li Yizhong Interior Design Posted: 12 Oct 2017 12:00 PM PDT  © Hai Zhu
 © Hai Zhu From the architect. This 6,028-square-feet rustic and contemporary hotel combines of 8 sophisticated rooms located in Dali, a city in Yunnan Province in China famous for its old town, directly across from stunning views of beautiful Erhai Lake and Cangshan mountain, and only 20 minutes’ walk to Dali Old Town. The name of hotel YI CHEN in Chinese was given from a Tang Poem by Wang Wei, a Tang dynasty Chinese poet, one of the most famous men of arts and letters of his time. YI CHEN provides a warm place with fresh air and greens and without dust and untidiness for tourists.  © Hai Zhu This is a project with 8 rooms that started from engaging with the site. There was previously a three-story villa renovated into four floors by digging out the new ground space, with an inner courtyard surrounded by beautiful landscape of nature and hidden behind a bamboo forest. The spacious, double-height social space on the first floor maximizes space and natural light with floor-to-ceiling windows and streamlined architecture. The atrium with low-E glass steel structure allowing the sunlight to peep through its broad windows all day long.  © Hai Zhu  Basement Plan  © Hai Zhu In order to bring in its nature surroundings we introduced a very neutral palette of turquoises, greens and light shades of blue in the social areas, complementing the modern feel of its interiors with contemporary pieces of furniture, light upholstery and decorative accessories that sprinkle color all around.In the front of courtyard, we built a pavilion, with the sight of the pond, rocks, water and trees in the gardens to create a rest space with poetic mood for tourists. A sunken yard is inclueded in the extended basement. All of these renovation process was working according to logic design of architecture without renovating the original architecture. The inner layout gets through the relationship between architecture and the environment.  © Hai Zhu Color is traded for texture and sophistication combining subtle neutrals, various shades of neutral colors as seen in the angular side chairs and large-format paintings and photography by several artists such as Finnish photographer Arno Rafael Minkkinen.  © Hai Zhu The modern and unique pieces of furniture with abundant of natural light and shadows perfectly complements the richness of the space. The design objective in creating this was inspired in part by its geographical locale, combining Asian-inspired art with vintage and contemporary design to create a truly unique and elegant space. The lights and lamps highlight the furniture and artworks.  © Hai Zhu  This posting includes an audio/video/photo media file: Download Now |
| Fairy Tales 2018: Architecture Storytelling Competition Posted: 12 Oct 2017 11:00 AM PDT  Fairy Tales 2018: Architecture Storytelling Competition Over the last four years, the Fairy Tales competition has captured the imagination of designers and architects around the world. Last year's record breaking competition drew over 1,500 participants, making the competition once again the largest annual architecture competition in the world. For its fifth anniversary, Blank Space is proud to partner with the National Building Museum, along with ArchDaily, Archinect, and Bustler. "Today, the Fairy Tales competition returns to inspire creatives and designers at a time when the world is struggling to distinguish fact from fiction — when real news is often grim and scary, and 'fake news' sows discord and diffidence," say Blank Space founders Matthew Hoffman and Francesca Giuliani. "In a time like this, storytelling might be the most powerful tool to unlock universal truths and rediscover what matters." The competition will be capped with a special edition hardback book, bringing together the top entries from the past 5 years for the first time ever. The book, "Storytelling Architecture," is made possible by Volume (vol.co), a new publishing platform. The book will be available in Spring 2018. The competition winners will be announced live at the National Building Museum in March 2018. Hosted in one of the most historic buildings in DC, the final event will bring together participants, jury members and design fans from around the world. "Over the years, Fairy Tales submissions challenged us, inspired us, and awed us, tackling real world issues through the lens of creativity. The world can't wait to be challenged, inspired, and awed once more."continue Matthew Hoffman and Francesca Giuliani. Facebook: /BlankSpaceProject Twitter: @BlankSpaceNYC Instagram: @blankspacenyc #fairytales2018 Fairy Tales is open to all, and invites architects, designers, writers, artists, engineers, illustrators, students and creatives to submit their own unique architectural fairy tales. A successful entry will craft a text narrative, along with 5 images, in the most spectacular way possible. Participants can register for a $40 Early Bird Discount until October 20th. Following that, Regular Registration ($55) will be open until December 7th, and Late Registration ($70) until the Submission Deadline on January 5th, 2018. All registrants in the competition will receive a discount voucher for their copy of Storytelling Architecture. To register for Fairy Tales 2018 and for more detailed information, please visit: www.blankspaceproject.com To download a copy of the brief:http://bit.ly/2hDjFVp For any questions please email: competitions@blankspaceproject.com
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| Hightail Bar / Technē Architecture and Interior Design Posted: 12 Oct 2017 10:00 AM PDT .jpg?1507763233 "© Charlie Kinross") © Charlie Kinross
.jpg?1507763052 "© Charlie Kinross") © Charlie Kinross From the architect. The vibrant watering hole at the heart of Greame Base's classic children's book 'The Waterhole' has inspired the venue fit-out for new bar Hightail. Designed by Technē Architecture + Interior Design, the venue playfully references the concept of 'the wateringhole' as both a feature of the natural landscape and to the old colloquial term for a public bar. .jpg?1507763207 "© Charlie Kinross") © Charlie Kinross The expansive 1052 square meter site has been transformed into an immersive large-scale venue, housing a number of zones and two bars. Located in the centre of Melbourne's urban jungle – Docklands, Hightail will provide nearby workers with an oasis of fun at the corporate location.  Floor Plan "We wanted to create a destination venue for the western end of Collins Street that would balance refinement with a tongue-in-cheek attitude," says Technē director Nick Travers. Much like a waterhole, the floor ripples out from the main bars in patterned waves. Above the bars, a gently undulating ceiling mimics the shapes created by the floor finishes to bring added dimension to the space. .jpg?1507763118 "© Charlie Kinross") © Charlie Kinross "The space is a journey through texture, colour and form, creating a fun and unique experience for those working in the area," says Travers. "We were able to temper the size of the site through design to create an intimate and immersive environment full of excitement." .jpg?1507763176 "© Charlie Kinross") © Charlie Kinross Sculptural forms throughout the venue such as stalactite-like ceiling structures and large timber clad structures that run from floor to ceiling minimise sight lines to create a more intimate atmosphere. Various zones within the tenancy have been designed to appeal to a diverse audience, encouraging patrons to explore the venue and unwind in their own space. .jpg?1507763097 "© Charlie Kinross") © Charlie Kinross Two complimentary bars were envisioned for the space, a robust beer bar finished in concrete, cork and copper; and a more intimate wine bar adorned with brass, terracotta tiling, deep blue carpet and natural timber. A highly saturated colour palette comprising nearly every hue of the rainbow is a spirited touch that practically serves to define the venue's many zones. .jpg?1507763311 "© Charlie Kinross") © Charlie Kinross Taking cues from Graeme Base's lush illustrations, murals and rich layers of colour and texture bring an element of intrigue and tactility to the space. For its natural warmth, timber provided the basis of the material palette and appears in natural finishes and stained in hues of blues and greens reminiscent of water. "The concept of the waterhole remained a key touch point throughout the design process," says Travers. .jpg?1507763258 "© Charlie Kinross") © Charlie Kinross  This posting includes an audio/video/photo media file: Download Now |
| Unique Scaffolding System is Lifted into Place for Olson Kundig's Space Needle Renovation Posted: 12 Oct 2017 09:20 AM PDT  Courtesy of Space Needle / Century Project Construction has begun on the Olson Kundig-led $100 million renovation of Seattle's most iconic structure, the Space Needle. With work taking place 500 feet above the ground, the project demanded a unique alternative to traditional scaffolding: a 28,000 pound platform surrounding the tower that was hoisted to a position just below the observation Tophouse. New drone footage shows how this platform, manufactured by scaffolding company Safway, was constructed at 100 feet above the ground, and then lifted into place and secured. According to Century Project, the structure represents "one of the largest lifts of Safway scaffold ever completed and it's one of the company's biggest scaffolds in circumference." The platform is now being enclosed to allow construction crews to work in all weather conditions. "This renovation project will be a giant game of three-dimensional chess," said Karen Olson, CMO, Space Needle LLC. "Getting the elevated platform in place was our first big move. This hasn't been done before. Our construction partners had to use a great deal of ingenuity and creativity to develop this plan. That plan – and great weather – allowed us to have a successful platform raising, which will allow us to remain open during construction." Designed by Olson Kundig, the Century Project involves a complete transformation of the Space Needle's Observation Deck and restaurant levels, as well as updates to internal and mechanical systems. Learn more about the project here.
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| Bund Finance Centre / Foster + Partners + Heatherwick Studio Posted: 12 Oct 2017 08:00 AM PDT  © Laurian Ghinitoiu
From the architect. The Bund Finance Centre – a major new mixed-use development jointly designed by Foster + Partners and Heatherwick Studio – is set to revitalise Shanghai's waterfront. Occupying a prominent site on the Bund, the buildings define the 'end point' to Shanghai's most famous street. The 420,000- square metre masterplan is highly permeable for pedestrians, with the design conceived as a point of connection between the old town and the new financial district.  Courtesy of Foster + Partners + Heatherwick Studio Inspired by this urban context, two 180-metre landmark towers are placed in the south of the site, while the buildings facing the waterfront are staggered in height and relate in scale and rhythm to the grand nineteenth-century landmarks along the Bund. At the heart of the scheme is a flexible arts and cultural centre, home to the Fosun Foundation, which combines exhibition and events halls with a performance venue, inspired by the open stages of traditional Chinese theatres.  Masterplan Aerial Perspective Gerard Evenden, Head of Studio and Senior Executive Partner, Foster + Partners commented: "The Bund Finance Centre creates a pivotal connection between the old town and the new financial district. Developing the massing strategy for the buildings was an interesting challenge, in terms of relating to the context of old and new architecture, reflecting the scale of the waterfront and the character of the historic quarters."  © Laurian Ghinitoiu  Fosun Foundation Axonometric Thomas Heatherwick, Founder of Heatherwick Studio, said: "The opportunity to make something new in this prominent location that had formerly been the river gateway to Shanghai's Old Town was extraordinary. With a project that would create 420,000 square metres of space, we felt a great duty to look for fresh ways to connect with China's amazing built heritage and make a meaningful public place for thousands of people to work and come together.  © Laurian Ghinitoiu Influenced by the materiality and scale of the existing historic buildings along the Bund we have built a series of simple office, shopping and cultural buildings that combine high performance glazing systems with hand carved stone building frames. These structures in turn surround new public spaces and speak to the heritage of the historical Bund buildings."  Fosun Foundation West Elevation The 420,000-square-metre development of eight buildings combines premium offices with a boutique hotel, a cultural centre and a wide variety of luxury retail spaces, all arranged around a landscaped public plaza. The retail spaces are vertically layered with boutiques, concept stores for international brands, a luxury shopping mall and restaurants. A palette of crafted stone and bronze details gives the buildings a jewel-like quality. The edges of each volume are made of richly textured, hand-crafted granite and become slimmer as they rise, giving the impression of solidity at the base and transparency at the top.  © Laurian Ghinitoiu  © Laurian Ghinitoiu The social focus of the scheme is the cultural centre, conceived as a platform for international arts and cultural exchange, as well as a place for brand events, product launches and corporate functions. The building is encircled by a moving veil, which adapts to the changing use of the building and reveals the stage on the balcony and views towards Pudong. Developed in collaboration with local engineers Tongji University, the façade is a veil organised along three tracks and made up of layers of 675 individual magnesium alloy 'tassels' – a reference to the traditional Chinese bridal headdress. The tassels range in length from around 2 metres to 16 metres so that as each track independently moves, the veil rotates with the tassels overlapping and producing different visual effects and levels of opacity.  © Laurian Ghinitoiu  Fosun Foundation Deatil "The cultural centre is an optimum blend of craft and technology. It is inspired by traditional Chinese weaving, while incorporating the latest cutting-edge technology that helps withstand earthquakes, typhoons and severe weather. Its unique form provides a memorable and extraordinary experience for visitors, while the illuminated stage and the motion of the moving veil creates a unique backdrop to the theatre of city life," added Evenden.  This posting includes an audio/video/photo media file: Download Now |
| Materia Completes Concrete and Wood Pavilion for Design Week México 2017 Posted: 12 Oct 2017 07:30 AM PDT _Jaime_Navarro_6.jpg?1507820280 "Cortesía de Design Week México") Cortesía de Design Week México For the 9th edition of Design Week Mexico, emerging Mexican practice Materia has completed a architectural pavilion within Mexico City's largest public green space, Chapultepec Park. Commissioned by Design Week Mexico in collaboration with Museo Tamayo, the pavilion will serve as a major cultural attraction during the event from October 11th—15th, and beyond. In designing Parteluz (Mullion), Materia's concept was to materialize "an artifact made of pavilion and place — a tool for the mapping of time, the dissection of light and the embracement of shadow." The rhythm of the structure's interwoven column and beam grids create an interplay of light and shadow, projecting dynamic patterns onto the ground and surrounding environment. "Its language expresses contrast and duality: object and void coming together in an intertwined fabric of contemporary spirit," explain the architects. "Made with craft and distilled technique, the space invites reflection and contemplation." _Jaime_Navarro.jpg?1507820128 "Cortesía de Design Week México") Cortesía de Design Week México Arranged within a two curving arcs, 70 white concrete columns dissect the immediate context of the Tamayo Museum and Chapultepec Park, their stereotomic character representative of the relationship between structure and earth in Mexican architecture. Even at its height of 4.8 meters (~16 feet), the space retains an intimacy. Double pine wood beams reminiscent of Mexican craftsmanship connect the columns, creating a composition of elements that can be seen in their projected shadows. Based in Mexico City, Materia was founded by Gustavo Carmona and Lisa Beltran in 2006 as a multi-disciplinary team focused on one design philosophy: "The creation of atmospheres expressed through the thoughtful craft of materials and detail." The firm has completed projects across the world in a range of scales and typologies, including residential, cultural, interiors and hospitality to high-end retail and historic preservation. Notable projects include the Pabellón Quinta Montes Molina in Mérida, the Veracruz Business Center, Casa U and the Louis Vuitton flagship store in Mexico City. _Jaime_Navarro_3.jpg?1507820164 "Cortesía de Design Week México") Cortesía de Design Week México Previous editions of the annual Tamayo/Design Week Mexico project included architectural pavilions by Tatiana Bilbao, Alejandro Castro, C Cúbica & Palomba +Serafini Associati and Nikolaus Hirsch / Michel Müller. With Mexico City's selection of host city for World Design Capital 2018, this edition of Design Week Mexico (October 11th—15th) is offering an expansive program of exhibitions, interventions and talks that encourage architects and members of the community to engage in innovation and debate.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 12 Oct 2017 06:00 AM PDT  © Benjamin Benschneider
 © Benjamin Benschneider From the architect. When I first visited this site, the owner and I immediately had the idea for a building that seems to be emerging out of the landscape. The east end of the house is buried, while the two projecting west-facing wings have unobstructed 270-degree views of Bald Mountain, Griffin Butte, and Adams Gulch. The house takes advantage of all the site has to offer: sweeping landscape views, balanced with a sense of being underneath, within. I'm always trying to find the yin and yang of a place. Likewise, the two main sections have windows onto a central courtyard, and the pivot wall opens to face it as well. The idea was to create more intimate moments that would balance the big views.  © Benjamin Benschneider  Floor Plan  © Benjamin Benschneider The clients wanted a modern house that would feel authentic to the high desert mountain landscape. So it is rugged; the client calls the style "mountain industrial." Everything that touches the earth is stone and board-formed concrete, and everything that projects out is steel and glass. The roof is made of corrugated weathered steel and slopes slightly. The wood finishes on the interior are intended to make the occupant feel warm and protected, in weather that can at times drop to minus 20 degrees.  © Benjamin Benschneider There are patios under the cantilevered sections; it's a two-for-one solution in which you get some shaded recreational space in the summer, and keep the building well above the snow line in the winter. The cantilevers are supported by masts that are also see-through fireplaces. The one supporting the main section is in fact two fireplaces: one indoors (in the great room above) and one outdoors (in the patio below). The wings are connected by a steel-and-glass bridge with a south-facing wall that pivots entirely open. It's twenty-five feet long and counterbalanced overhead—the first time we've done that at this scale—by a large steel weight that sits five feet above the roof. The hand-wheel crank that operates it is attached to an eight-foot-long screw.  © Benjamin Benschneider  © Benjamin Benschneider  This posting includes an audio/video/photo media file: Download Now |
| Winners Announced of Inaugural WAFX Prize for World’s Most Forward-Looking Architectural Concepts Posted: 12 Oct 2017 05:45 AM PDT  Overall Winner + Climate, Energy & Carbon Prize winner - The Hydroelectric Canal / Paul Lukez Architecture. Image Courtesy of World Architecture Festival The World Architectural Festival has announced the 11 winners of their newest award slate, the WAFX Prize, sponsored by GreenCoat®, celebrating the world's most forward-looking architecture. The prize is awarded to future projects that address key challenges architects with face over the next 10 years, spanning topics including climate, energy & carbon, water, ageing and health, re-use, smart cities, building technology, cultural identity, ethics, power and justice. From the 11 category winners, the Hydroelectric Canal by Paul Lukez was selected as the overall winner for its innovative approach to shaping economic and environmentally resilient self-sustaining communities. Overall Winner + Climate, Energy & Carbon Prize winnerThe Hydroelectric Canal / Paul Lukez Architecture  Overall Winner + Climate, Energy & Carbon Prize winner - The Hydroelectric Canal / Paul Lukez Architecture. Image Courtesy of World Architecture Festival The Hydroelectric Canal addresses the complex challenge of rising sea levels. PLA together with a multidisciplinary team are working on a scheme to harness the energy from the rising tides in low lying urban areas. The communities will be able to draw clean energy through advanced hydroelectric systems which will generate power from the tidal changes. Water Prize winnerFloating Ponds / Surbana Jurong Consultants  Water Prize winner - Floating Ponds / Surbana Jurong Consultants. Image Courtesy of World Architecture Festival This projects' systemic integration of water, nutrients and energy leads to a concept which enables the creation of a self-sustained and closed loop farming eco-system. Floating Ponds omits the traditional dependency on land and will enable rapidly expanding and densifying cities to build resilience through a creative use of space and water. Ageing and Health Prize winnerSödra Skanstull / White Arkitekter  Ageing and Health Prize winner - Södra Skanstull / White Arkitekter . Image Courtesy of World Architecture Festival White Arkitekter has developed a new masterplan for Sodra Skanstull, an area located in the south of Stockholm. The focal point of the scheme is a new diagonal boulevard for pedestrians and cyclists, which makes use of an old railway route, and improves public movement through the area. White's proposal shows how creating walkability is at the heart of building a people centred sustainable city of the future. Ethics Prize winnerWhitmore Community Food Hub Complex: Building Community around Food / University of Arkansas Community Design Center  Ethics Prize winner - Whitmore Community Food Hub Complex: Building Community around Food / University of Arkansas Community Design Center. Image Courtesy of World Architecture Festival Besides providing processing and distribution support for an underserved agricultural community, the 400,000 sqft Whitmore Food Hub serves additional community needs such as agricultural workforce housing, retail, local business incubation, and cultural tourism. Smart City Prize winnersMedia City / Gad Architecture  Smart City Prize winner - Media City / Gad Architecture. Image Courtesy of World Architecture Festival Media City will be a vibrant and engaging habitat where people can witness the design, production and application of virtual reality and multimedia products as well as being a beacon for future smart city strategies. Oresund City: a new European metropolis by 2030 / Sweco Architects  Smart City Prize winner - Oresund City: a new European metropolis by 2030 / Sweco Architects . Image Courtesy of World Architecture Festival Sweco Architects entry is based on the vision of using a new archipelago to join Copenhagen and Malmo to form an entirely new city: Oresund City. The Green Manhattan / SHAU  Smart City Prize winner - The Green Manhattan by SHAU. Image Courtesy of World Architecture Festival The Green Manhattan by SHAU is a proposal for multitude of ecological and social projects combined to form one sustainable city at Jakarta Bay. Re-use Prize WinnerI LOVE NYDALEN / SAAHA AS .jpg?1507824899 "Re-use Prize Winner - I LOVE NYDALEN / SAAHA AS . Image Courtesy of World Architecture Festival") Re-use Prize Winner - I LOVE NYDALEN / SAAHA AS . Image Courtesy of World Architecture Festival SAAHA AS's proposal maps out how the historic industrial buildings in the Nydalsveien 32B area of Oslo can be preserved and redeveloped with housing, to enable active and vibrant city life. The centre of the district will be transformed into a greenhouse, a common and shared space for both residence and the general public. Building Technology Prize winnerEnergie- ud Zukunftsspeicher im Energiepark Heidelberg / LAVA  Building Technology Prize winner - Energie- ud Zukunftsspeicher im Energiepark Heidelberg / LAVA . Image Courtesy of World Architecture Festival This animated energy tower reinvents a 1950s - tank typology into a hub of sustainability; both a renewable energy storage and an educational destination for renewable energy. The external façade is animated by over 20,000 diamond shaped steel plates, the number of moving plates will indicate the number of households supplied by the renewable energy stored in the tower. Power and Justice Prize winnerRevolution 4.0 / Abdullah Ahmed N AlDabbous  Power and Justice Prize winner - Revolution 4.0 / Abdullah Ahmed N AlDabbous . Image Courtesy of World Architecture Festival The project utilises of Cairo's unused urban spaces such as motorway flyovers) to provide both learning and opportunities for advancement for street children. This project aims to engage with the street children, who have become part of Cairo's social and spatial structure, as positive economic assets rather than liabilities. Cultural Identity Prize winnerLagos's Wooden Tower / Hermann Kamte & Associates  Cultural Identity Prize winner - Lagos's Wooden Tower / Hermann Kamte & Associates. Image Courtesy of World Architecture Festival This proposal aims to create a new generation of the city of Lagos, above the existing urban fabric. The Lagos wooden tower is built with a high resistance LVL timber system and stands out as a residential tower that acts as a smart and sustainable monument to the city. The 2017 World Architecture Festival will take place in Berlin from November 15-17. Learn more about the Festival and purchase delegate passes here. Use the discount code ARCHDAILY17 to receive 20% off! News and project descriptions via WAF  This posting includes an audio/video/photo media file: Download Now |
| Faculty of Fine Art, Music and Design of the University of Bergen / Snøhetta Posted: 12 Oct 2017 03:30 AM PDT  © Trond Isaksen
 © Tomasz Majewski From the architect. Replacing the former Bergen Academy of Art & Design (KHiB), the new KMD has undergone a historic fusion, assembling the previously scattered faculty buildings under one roof. This new 14,800m2 cross-disciplinary faculty is now the second largest cultural building in Bergen after the 1,500-seat Grieg Concert Hall.  Site Plan The building is organized along two axes, one internal, dedicated to students and staff, and one external, open to the public. Under the KMD roof, these axes cross each other in the 1,300 m2 and 19,000 m3 project hall, one of the most prominent and dominant features of the building. It is here, in the transition zone between the public and the private sphere of the school, that the building offers exciting opportunities for students, professors, and visitors to connect, discover, and learn from one another. It is a multi-use, semi-climatic space running through the entire construction.  © Trond Isaksen The building's entrance is connected to the large outdoor public plaza, Kunstallmenningen. The plaza, together with the large glass wall of the project hall, makes KMD an inviting and open building in dialogue with the city center of Bergen.  © Trond Isaksen An Ideal and Malleable Space for Artistic Expression A prominent aspect of the KMD building is its robust and malleable characteristics. Both the project hall and the 410 rooms surrounding it, including auditoriums, offices, and workshops of various sizes, have been designed to both foster creativity and to withstand harsh treatment which is inevitable in an art school. The objective is to free students and staff from limitations by surfaces and materials.  © Trond Isaksen Another important feature of the building is its unifying mission, manifested through the project hall. As a powerful symbol of the unification process of six faculty buildings merging into one KMD, it is a direct reflection of the faculty's ambition of stimulating to collaboration and cross-disciplinary exchange. Very much a public space, as well as an artistic space for students, the project hall will host events and exhibitions. Rising to 23-meter-high at its tallest point, it is equipped with an original Munck bridge crane running its entire length, echoing the now demolished Sverre Munck's crane factory which used to occupy the site. Throughout, Snøhetta has created a generous and functional building, serving both students and faculty members with its top-notch machinery, equipment and special facilities. Surrounding the 52-meter-long and 24-meter-wide project hall one will find 32 huge workshop-cum-display spaces. These spaces are equipped with specialized infrastructure and heavy machinery for woodwork, ceramics, metalwork, plaster, printmaking, textiles, 3D modelling and printing, video, sound art, and photography.  Section A  Section B While the creative work areas are designed to provide plain functionality, social and administrative spaces have been designed for people to work and relax together. Among other, the cantilevered box-shaped windows emerging from the façade may serve as social zones where students can come together over a coffee to discuss, relax, and enjoy the view during brakes.  © Tomasz Majewski At the second level of the building you will find a café with an inviting terrace, as well as the library and materials library, all of which are accessible to the public. Along with workshops, the faculty's administration wing occupies level 3. Level 4 contains most of the students' workshop and studio facilities, including photographic and sound workshops, studios and seminar rooms. It also houses studios for the faculty's academic staff.  © Trond Isaksen Materiality The KMD building's aesthetic does not compete with its purpose of welcoming collective artistic installations and individual expression. It is a clean-cut, environmentally friendly and durable building focused on materials that will withstand the rainy climate of the Norwegian west coast and a high degree of rough use, wear, and tear. The material palette has a clear reference to the Norwegian coast, using well-established materials such as pine wood block flooring, birch veneer, raw aluminum, crude steel, and concrete.  © Tomasz Majewski The interior palette is kept low key, providing studios, student work areas, and other spaces with a neutral and durable environment suitable for art and design work. Painted gypsum fiberboards provide a smooth, robust and a visually subdued surface, ideal for screws, plugs, and nails supporting artwork. These materials used indoors are extremely robust and have good light reflecting, soundproofing, and acoustic qualities. While most of the floors are covered in vinyl, the floor of the first level is covered by slab and porous concrete. The second floor of the Project Hall is covered by a beautiful and robust pine wood block flooring. When a material first is introduced into the material palette, it has been reused consequently throughout the building. Following this philosophy, the same vinyl which is used for flooring is also used to protect wall corners, as a continuous baseboard between floors and walls, and as wall cladding in all bathrooms.  © Tomasz Majewski Crude steel rails and handrails are mounted and welded on site and each transition is carefully rounded and soft to touch. In-situ poured concrete is left with the weather marks given the day of construction. The use of crude steel is also reflected in the profiles of the interior glass panels and in the door wings of the large, heavy doors leading to the workshops on level 1 and to the project hall on level 2.  © Tomasz Majewski A Robust Façade The pre-fabricated raw aluminum elements that clad the building's exterior compose a puzzle of depth, breadth and length. 900 varied sized seawater-durable crude aluminum elements are protruding from the wall at varying distances, only paused by large cantilevered box-shaped windows punctuating the rhythm of the aluminum surface. The metal cassettes shift according to the weather conditions of the west coast and reinforces the metallic effect of the aluminum.  © Tomasz Majewski Durability and robustness have been keywords for all decisions made throughout the façade design process. The rainy and sometimes stormy coastal climate demands all exterior materials to not only withstand harsh conditions, but to weather in a way that highlights their unique qualities over time. The crude aluminum surfaces will gradually age and naturally oxidize, heightening the variations in colors and textures.  © Stephen Paolo Citrone This robust and playful expression gives great flexibility when planning for windows and lighting conditions. The windows of the building are set at different heights to allow for maximum usable wall space and excellent daylight conditions. Moreover, the glass roof conveys light from the sky which melts together with the light streaming through the glass wall. The shadows in this space are somewhat erased, leaving the colors of the room authentic and natural.  © Trond Isaksen Outdoor Spaces Of the 11.45-acre Møllendal lot, a total of 9 acres are dedicated to outdoor areas, including green areas, open plazas, and parking. Large parts of the outdoor is accessible to the public, with the Kunstallmenningen plaza and the café terrace as natural meeting points.  © Tomasz Majewski The plaza is framed by two green wetland areas fed by roof and surface water, planted with wetland vegetation from the Norwegian flora. Here, one will find a rich variety of plants, such as sea buckthorn, willow, blackthorn, blackberry, ferns, globeflower, cat tail, and meadowsweet. Parts of an existing natural stone wall along the road Møllendalsvegen, echoing the former location of the Munck Crane's factory, has been retained. Behind the building you will find courtyards for outdoor work and a delivery zone. The yards lead into workshops which have been equipped with outdoor workstations on the roof. These terraced workstations lead out into the surrounding terrain with its scattered, rugged vegetation.  Landscape Plan Underneath the café terrace, a huge tank with a capacity of capturing up to 90 liters of water per second stocks excess water from the 4,100m2 roof. The water is further lead into a 500m3infiltration pool situated at the plaza. The pools will avoid strain from rainfall and flood on the encircling environment.  This posting includes an audio/video/photo media file: Download Now |
| From Cubicles to Hot-Desks, Here Are the Origins of the Open-Plan Office Posted: 12 Oct 2017 03:15 AM PDT Some love them, some loath them: open-plan office spaces are either conducive to conversation and collaboration or nothing more than noisy environments defined by distractions. Much, for instance, has been questioned recently about the "innovative" open working environments in Apple's new Cupertino campus. In a new series by Vox, overlooked, misrepresented, and overrated phenomena are put under the microscope. By exploring the work of Frank Lloyd Wright, Herman Miller, and others, this episode posits that open office spaces are, contrary to popular assumption, "misunderstood for their role in workplace culture."
Via Vox.
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| Posted: 12 Oct 2017 02:00 AM PDT  © Danny Bright
 © Danny Bright From the architect. Carroll House is a single-family residence located in a typical 25x100-feet Brooklyn corner lot. 21 shipping containers are stacked and cut diagonally along top and bottom, generating a monolithic and private volume within the urban fabric.  © Danny Bright
 © Danny Bright The diagonal cut modifies the conventional ground-floor rear yard type and uses, allocating outdoor space at each level. At the same time, the container walls along the diagonal cut shield the outdoor space from passers-by. Large sliding glass walls create continuity between indoor space and outdoor private enclosed decks.  © Danny Bright At ground level, the diagonal cut provides entry to the cellar and garage. Kitchen, dining and living room occupy the first floor above ground, while the area right above the garage ramp forms a media room with bleacher seating and projector.  © Danny Bright  Container Diagram  © Danny Bright The kids' level is right above, with the intimate space of single containers providing privacy to the bedrooms and a large open area dedicated to playing. At the top, the master bedroom is split into an open space with a bed and a large bathtub and a large dressing area with powder rooms. The container assembly optimizes usage, recombining all leftovers generated by the diagonal cut.  © Danny Bright  This posting includes an audio/video/photo media file: Download Now |
| Students Design Temporary Furniture for Victims of Displacement Posted: 12 Oct 2017 01:00 AM PDT  © Jani Luukkonen Ten third-year furniture design students from Finland's Lahti University of Applied Sciences - Institute of Design, created temporary living solutions using only plywood and corrugated cardboard. Low cost, quick and easy fabrication, with no tools necessary: Rehome is a solution for recent catastrophes, such as natural disasters and the ongoing refugee crisis, which leave many people displaced from their homes.  © Jani Luukkonen The students began their research by asking themselves what the most necessary human needs are. They fulfilled rest, privacy, community, and storage with their ten piece furniture set.  © Jani Luukkonen  © Jani Luukkonen Plywood and corrugated cardboard are affordable and sustainable materials. Known for it's resistance to fracturing, shrinking, twisting and warping, Plywood acts as Rehome's primary structure. Corrugated board is often used for higher quality shipping boxes. It offers additional strength and padding to regular cardboard. To bend the corrugated board students likely creased and scored the material, as well as created flaps and slots.  © Jani Luukkonen Slotting allows for a quick and easy construction of the furniture so that no tools are necessary. With just one hour and 3500 pieces, a cardboard bed can be made (for indoor use only).  © Justus Hirvi Rehome was on display at Finland's largest interior decoration and design event, Habitare fair in Helsinki. Currently, Stora Enso, Isku Oy and Finnish Red Cross have partnered with the project. The main funding for Rehome came from the European Social Fund and Leverage from the EU. Project manager/teacher: Vesa Damski  This posting includes an audio/video/photo media file: Download Now |
| The 10 Different Ways to Measure a Skyscraper's Height Posted: 12 Oct 2017 12:59 AM PDT  From left to right: One World Trade Center, image © James Ewing; Burj Khalifa, image © <a href='https://en.wikipedia.org/wiki/File:Burj_Khalifa.jpg'>Wikimedia user Donaldytong</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/'>CC BY-SA 3.0</a>; Taipei 101, image © <a href='https://commons.wikimedia.org/wiki/File:Taipei_101_from_afar.jpg'>Wikimedia user peellden</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/'>CC BY-SA 3.0</a>; Shanghai Tower, image © Gensler/Shen Zhonghai. How do we determine the actual height of a building? Where do we place the dimension line? The history of measuring skyscrapers dates back to 1885, way before AutoCAD or Revit dimensions, when the Home Insurance Building in Chicago was among the first to boast of being the world's tallest building, but the Council on Tall Buildings and Urban Habitat (CTBUH)—or the Joint Committee on Tall Buildings, as it was originally called—wasn't formed until 1969. Recognized by many as the foremost authority on tall buildings, the CTBUH is often cited in determining the world's (or country's or city's) tallest building. However, the CTBUH is not the only organization with a stake in measuring buildings; the global building information database Emporis is also a major player. Between them, these two organizations provide 10 different ways to determine a skyscraper's height, which we have summarized below. CTBUH Measurement MethodsCTBUH recognizes three ways to measure a skyscraper, all of which use the level of the finished floor outside the lowest ground level entrance as their baseline.  via CTBUH 1. Architectural TopThis is the most common way to measure a building. The architectural top of a building includes any building structure or ornaments, like spires or parapets, but it does not include what the CTBUH considers "functional-technical equipment." Functional-technical equipment is anything that may be subject to change, such as a flagpole, antennae, or signage. The architectural top method is used to determine the world's tallest buildings, although due to the subjectivity of what is "architectural" and what is merely "functional-technical equipment," it can sometimes lead to some controversy.  via CTBUH 2. Highest Occupiable FloorTo count as the highest occupiable floor, it must be a conditioned space designed for people to legally inhabit it on a regular basis. Mechanical spaces don't count. This measurement is taken to the floor level.  via CTBUH 3. The TipThe tip of the building is the highest possible point, no matter its material or function. For example, Willis Tower's architectural top is the roof level at 1,451 feet (442 meters) but its tip measures in at 1,729 feet (527 meters).  via CTBUH Emporis Measurement MethodsIn addition to the three methods above, global building information database Emporis defines several other ways to determine a building's height. In order to easily provide building data, Emporis defines different categories of information through their standards. Some are designed for factual accuracy, whereas others are used to provide estimates when no more accurate data can be found. Still more are designed to provide internal measurements of a building, rather than determining the building's overall height. Emporis also uses a slightly different baseline for many of its measurements: while the CTBUH uses the floor level at the lowest entrance, Emporis uses the lowest point at which the building meets the ground, regardless of its relationship to floor levels. 4. Estimated ArchitecturalIn order to estimate a building's architectural height, Emporis may calculate the height based on a list of known values. For example, the structure's approximate height taking into account floor heights of buildings with a similar location and usage. 5. Floor-To-CeilingThis is pretty self-explanatory. Emporis' database provides the median distance from floor-to-ceiling. The height of a building may be estimated (very roughly) by calculating the sum of measurements from the top of the floor plate to the ceiling for each level. 6. Floor-To-FloorAnother example in which Emporis provides a median measurement for a building, floor-to-floor height calculates the space between the top of two adjacent floor plates. For estimating total height, floor-to-floor is more accurate than floor-to-ceiling, since it factors in the space in between levels. 7. Main RoofBuildings with significant roof levels can use this method to measure up to their primary roof plate. This measurement does not include penthouses or turrets. 8. Observation DeckFrom the base level to the open-to-air observation deck. An observation deck is defined as the highest exterior viewing space, like the one Meganom designed for a supertall luxury skyscraper in Manhattan. 9. Observation FloorUnlike the observation deck, the observation floor height is the highest indoor viewing space. Think of the 360-degree observation floor designed for the Expo 2016 Antalya Observation Tower. 10. RoofThe roof height is the highest exterior portion of the buildings shell enclosure. This does not include spires or parapets like the architectural top does, but for buildings with a "main roof," it does include rooftop penthouses or pavilions, unlike the main roof measurement. There are many ways to define a building's height. But ultimately the method you pick depends on what information you are looking for. The goal should lead you to the right building measurement method.  This posting includes an audio/video/photo media file: Download Now |
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