Arch Daily |
- The Spectacular Stories Behind 7 Ancient Lost Landmarks
- UNYC / Carvalho Araújo
- Ceres House / Dan Gayfer Design
- Barcode Complex / A1Architecture
- Tao Hua Yuan / CL3 Architects
- Project Brunswick / Modscape
- The Triangular Sky Cafe / J.R Architects
- Cubby Office / Krisna Cheung Architects
- Hariri Pontarini Architects Unveil Waterfront Skyscraper Development for Toronto
- 8 Projects Win ARCHMARATHON Awards for Best Projects in the Americas
- Enrique Martínez Building / Proyecto C
- Sluice Point House / Omar Gandhi Architect
- Winners of First-Ever Africa Architecture Awards Announced
- Palazzo del Cinema di Locarno / AZPML + DFN Dario Franchini
- This 3D Printer, Designed Specifically for Architects, Is Surprisingly Easy to Use
- Dos Pieles House / Verónica Arcos
- 10 Fonts For Architects
- How to Make Beautiful Stylized Floor Plans Using Photoshop
- Which Are The Most Used Materials in Social Housing?
| The Spectacular Stories Behind 7 Ancient Lost Landmarks Posted: 16 Oct 2017 09:00 PM PDT
Architecture has been historically deployed as a tool to construct and concretize legacies. Whereas only a few built edifices have left a large enough impact on the world, or have been around long enough, to enter into the canon of architectural legend, the seven wonders of the ancient world have achieved both. With only one—the Great Pyramid of Giza—still standing, the others have all taken a unique position in the architectural imagination, with representations over the years of structures such as the Colossus of Rhodes and the Lighthouse of Alexandria changing according to the whims of artists of the time. Nevertheless, the spectacular stories behind each of these lost landmarks is worth revisiting – which is exactly what travel company Expedia has done in this series of illustrations.  Courtesy of Expedia "Lost Landmarks" Hanging Gardens of BabylonIt's said that the Babylonian King Nebuchadnezzar II constructed the Hanging Gardens as a gift to his wife, Amytis, who longed to be back home in the greenery and lush gardens of her native country, Media (today, north-western Iran). Both the Greeks and Romans wrote about the Gardens, describing the location as a botanical oasis; prosperous in vegetation, surrounded by exotic plants and herbs, and with tall stone columns. In Hellenic times, many said it was situated in the ancient city of Babylon, which today, is Hillah, Iraq. However, the actual location of the Hanging Gardens has never been definitely established. The lack of any remains of the ancient site, have left many wondering whether the Hanging Gardens actually existed.  Courtesy of Expedia "Lost Landmarks" Colossus of RhodesErected in the city of Rhodes in 280 BC, the Colossus of Rhodes was a statue of the Greek God, Helios. It was built in celebration of Rhodes' victory over the ruler of Cyprus, Antigonus I Monophthalmus, whose son failed to take control of Rhodes in 305 BC. The Colossus was constructed out of bronze plates over an iron framework, a very similar way to which the Statue of Liberty was made. Many have also compared its height (33 meters) to the American landmark, believing it was approximately the same size (from feet to crown.) The Colossus of Rhodes has been described by historians in various ways, with many debating its actual position, and in particular, whether it actually straddled the harbour of Rhodes. It was destroyed in 226BC by an earthquake, which caused major damage to the city and was never rebuilt.  Courtesy of Expedia "Lost Landmarks" Great Pyramid of GizaThe only Ancient Wonder which is still in existence today, the Great Pyramid of Giza, is an iconic symbol of Egypt and is the largest pyramid in the Giza pyramid complex. According to Egyptologists, the pyramid was built during a 10-20-year period, eventually coming to completion at around 2560 BC. Despite differing theories as to the Pyramid's purpose, it is widely acknowledged that it was created as a tomb. The Pyramid of Giza was the tallest man-made structure on earth for more than 3,800 years, until Lincoln Cathedral in England, surpassed it around 1311 AD.  Courtesy of Expedia "Lost Landmarks" Mausoleum at HalicarnassusThe Mausoleum at Halicarnassus was built for the satrap, Mausolus (ruler of Caria), and his sister-wife, Artemisia II, between 353 and 350 BC. The tomb, based in present-day Bodrum, Turkey, was designed by Greek architects. When Mausolus died in 353 BC, Artemisia II continued developing the elaborate tomb as she ruled the capital alone. It was built upon a hill, which overlooked the city, and it sat within an enclosed courtyard. It was built out of marble and embellished with statues and war themed bas-reliefs. The tomb was destroyed by series of earthquakes between the 12th and 15th century. Mausolus' tomb became so well-known that the word 'mausoleum' entered the language and today is used to refer generically to an above-ground tomb.  Courtesy of Expedia "Lost Landmarks" Temple of ArtemisThis temple, dedicated to the Greek Goddess, Artemis was located in Ephesus (near the present-day town of Selçuk in Turkey). The temple was rebuilt three times before it was destroyed for the final time in 401 AD. The first temple on the site was built in the Bronze Age, but was destroyed by a flood in the 7th century BC. Then, around 550 BC it was reconstructed. However, this temple was destroyed by an arsonist named Herostratus in 356 BC, and it was reconstructed for the final time in 323 BC. This reconstruction is the Temple recognised as the Wonder of the World, however today, only fragments remain. The site is marked by a single column which has been constructed using various fragments discovered on the site.  Courtesy of Expedia "Lost Landmarks" Statue of Zeus at OlympiaThe Statue of Zeus was created by Greek sculptor, Phidias, around 435 BC. The giant sculpture of the Greek God himself, seated on a lavish throne, could be found in the Temple of Zeus, in Olympia, Greece. Commissioned by the custodians of the Olympic Games to outshine their rivals in Athens, the Statue of Zeus was made out of Chryselephantine (gold and ivory) and was around 13m high. It took around 12 years to make. The statue was destroyed during the 5th century AD (allegedly due to a fire, but there is no concrete evidence on how exactly its destruction came about). No remains of the site have ever been found.  Courtesy of Expedia "Lost Landmarks" Lighthouse of AlexandriaAlso known as the Pharos of Alexandria, this ancient lighthouse was built between 280-247 BC in Alexandria, Egypt. Constructed by the Ptolemaic Kingdom under the rule of Ptolemy I Soter, the lighthouse was built to help guide trade ships into the popular harbour of the Island of Pharos. The lighthouse stood over 100 metres high and became a prototype for lighthouses around the world. It was damaged over the years due to earthquakes and was an abandoned ruin by 1480. Some of its remains were used to build the Citadel of Qaitbay. In 1994, archaeologists embarked on an underwater expedition led by Jean-Yves Emperuer, and found remains of the lighthouse near Alexandria's Eastern Harbour. The discovery led the Egyptian government to work with UNESCO to add The Bay of Alexandria to the World Heritage List of submerged cultural sites. These illustrations and text were created for Expedia's Lost Landmarks series.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 16 Oct 2017 08:00 PM PDT  © NUDO
 © NUDO From the architect. The store integrates a housing project designed in the late 60's, in a composition that reveals a late modernism. The existing space was divided into two distinct zones: a large oor at the ground level and an upper store overlooking the main space and the courtyard to the north.  © NUDO UNYC results from the fusion of the intended program with the search for a balance between a male and female space idea. The store and the upper store represent different atmospheres that merge in the center, solving in the staircase and in the transition between doors the complexity of the connection between the different materials and textures. This central space assumes the leading role, not only for its imposing height, but also for being the aggregator element of the remaining spaces. This is where the big table emerges: a functional and symbolic piece, with an intentionally unavoidable presence that materializes what is intended for this space.  Ground Floor Plan The big window on the main facade plays an important role in the relationship between the interior of the store and the urban space. The imposing but translucent curtain, which both reveals and hides, translates the essence of this space: a place of encounter and intimacy.  © NUDO  This posting includes an audio/video/photo media file: Download Now |
| Ceres House / Dan Gayfer Design Posted: 16 Oct 2017 07:00 PM PDT  © Dean Bradley
 © Dean Bradley From the architect. Ceres House is Dan Gayfer Design's largest project completed to date. Located within the rolling hills of Ceres - a rural hamlet of Geelong - the project was virtually a new build and involved the simultaneous design of the residence, its interior and immediate exterior spaces  © Dean Bradley  Site Plan  © Dean Bradley Somewhat inspired by American Ranch style architecture with its picture windows, gabled rooflines and far-reaching single storey floor plan, the buildings careful orientation encompasses 180 degrees of views whilst protecting the exterior living spaces from prevailing winds that can sweep across the property  © Dean Bradley The views are part of the design and its aesthetic; they are not borrowed but practically stolen from the surrounding landscape to become part of the interior.  © Dean Bradley  This posting includes an audio/video/photo media file: Download Now |
| Barcode Complex / A1Architecture Posted: 16 Oct 2017 05:00 PM PDT  © Deed Studio
 © Deed Studio From the architect. The strategy lead to creating a shell that covers the entire volume and provide a symbolic and unique character while also controls the lighting and the view. The distance of the shell and glass has established a green interface between internal and external environment which often have a significant temperature and humidity difference.On the other hand, this has led to different and exclusive experiment for each of administrative units which all share common plans, parallel layouts and similar sizes.  Diagram Expensive value of the land and commercial function of it lead to designing a plain and pure structure to maximize the usage of land. Boosting visibility and noticeability of valuable commercial flats on the ground and on the same time maximizing the organic light and view of very small administrative units on higher levels, resulted in pure glass structure.  © Deed Studio Later, searching for a solution to encounter the harsh climate of the region along with looking for method of unitizing the project, the native architecture of the Persian Gulf guided us to the double shell structure which the natives use to control the heat and light of sun through shadows of the outer layer and air circulation in the space between.  Ground Floor Plan / 1st Floor Plan Then the second shell was designed inspired form reticular shells of natives and next was adding the green texture in the space between to catalyze the softening process.  © Deed Studio Recreating the connection of inside and outside of the building, as well as generating a distinguishable difference in similar flat units, conduced to invention of an interface which become axis of design strategy for this project.  Section In fact there are many companies (both national and international) who need to have small office in Kish to operate their business there. On the same time there are some businesses in the island that are prestigious though do not need much of space for their operation. However, due to our studies there is serious lack of small offices in Kish. Adding the facts of being independent (in terms of services, parking, ...) and prestigious, made the issue even more significant. That is how we came with the idea of small, independent and prestigious administrative offices. .jpg?1507919399 "© Deed Studio") © Deed Studio  This posting includes an audio/video/photo media file: Download Now |
| Posted: 16 Oct 2017 03:00 PM PDT  Courtyard. Image © Nirut Benjabanpot
 Traditional Culture Hall. Image © Nirut Benjabanpot From the architect. Tea absorbs the spirit of the universe, appealing to men of letters throughout the ages. As a tea house to promote Chinese culture of tea drinking, while being innovative, Taohuayuan seeks to meet demands of modern life. The design utilized a quite Zen esthetic and simple style to bring a tranquil and free space to the bustling city.  Floor Plan The building is in a clear outline of single rectangles, tucked away in the forest just like a masterpiece of nature. While marble is strong and steady, the glass is clear and pure, thus the facade harmoniously combines hardness and softness, as well as virtual and real, giving the house a contemporary look. The interior becomes the extension of the architecture; simple materials such as wood, bamboo and marbleare used together with concise lines to create Zen tranquility.  Main Entrance. Image © Nirut Benjabanpot The overall palette remains simple and soft, incorporating traditional elements like scholar rocks, lanterns, paintings and works of art to create a tranquil environment that is one with nature. Scholar rocks are massive rocks recovered from the river beds with naturally eroded holes and wrinkles. 6 massive rocks sits on a platform of black mirror simulating water reflection. This serves as a piece of art installation as well as dividing the teahouse into semi-private zones. The verticality of the young forest is reinforced by the vertical lines in the interior design in the background of black glass.  Main Area. Image © Nirut Benjabanpot Custom designed furniture and lighting combining interior hard decoration reflect the importance of balance in Chinese style. Low-rise furniture which prevailed in ancient times when people tended to "sit on the floor", as well as modern high-type furniture are used in the tea house. They are mainly made of wood and are in simple colors, containing both classical charm and fresh ideas, giving a contemporary interpretation to the Chinese cultural heritage.  Courtyard. Image © Nirut Benjabanpot  This posting includes an audio/video/photo media file: Download Now |
| Posted: 16 Oct 2017 01:00 PM PDT  Courtesy of Modscape
 Courtesy of Modscape From the architect. Peeking above a brick wall in Brunswick sits a modular extension that creates a powerful contrast from the existing architecture.  Courtesy of Modscape The corner block called for a design that engages with the site's existing streetscape from multiple viewpoints. How the extension reads in elevation was very important to both the clients and the Modscape design team. Rather than attempting to mimic in an unauthentic manner, the simple and geometric addition stands independently from the original, while remaining sympathetic to its scale and that of the surrounding streetscape. A glass link corridor clearly defines the two architectural styles and even allows for a walk-in pantry to be accommodated.  Plans Inside its shiny black exterior are bright and light internal spaces. An open plan kitchen/living/dining effortlessly flows out into the garden and pool area thanks to a double height wall of glazing. An Enzie spiral staircase makes a striking statement in the room and leads up to a mezzanine master suite. Upstairs the city's skyline is framed perfectly and sits like a picture on the wall.  Courtesy of Modscape While the Modscape team were busy constructing within the factory, renovation and landscaping works occurred concurrently onsite – streamlining the entire process and reducing the amount of time the clients were out of the home.  Courtesy of Modscape Every fixture and fitting was carefully considered to reflect the renovation of the existing. The result is a harmonious project that beautifully showcases the client's eye for design and embodies the flexibility and practicalities of our modular system.  Courtesy of Modscape  This posting includes an audio/video/photo media file: Download Now |
| The Triangular Sky Cafe / J.R Architects Posted: 16 Oct 2017 12:00 PM PDT  © Tsao Yu-Chen
 © Tsao Yu-Chen From the architect. The project is located in a corner of an intersection next to a park of the residential area in Tainan City. The program is set to be a café for the local community. Aside from the dine-in service, this café also provides a unique scooter drive-through service around its exterior space to accommodate the large scooter-commuting consumers in Taiwan, so that they can directly order and take out without parking.  © Tsao Yu-Chen The composition of the project is formed by three twenty-foot-long containers that create a triangular loop, which connects all the programs together, including an office, a counter bar, and a dining area. The design team not only retained the original texture and materiality of the industrial containers, but also established the relationship and interface between the architectural intervention and urban environment with large windows, expanded meshes, and semi-translucent polycarbonate board material. The containers then resemble as boxes that provoke elegant lifestyle, and represent tranquility in the city as giant white lego blocks.  Ground Floor Plan  © Tsao Yu-Chen  Section In order to control the budget, the design team considered both the interior and exteriorholistically with materiality. For example, the white steel sheet was folded as a continuousbar table to reduce the sense of oppression inside the container, so that the furniture is likea floating paper within the limited space. Furthermore, the perimeter of the café and drive-through path had been re-established by gravel material. These gravels had been heaped and shaped into curved and undulated pattern as the landscape concept that spreads and merges into the triangular courtyard. People who visit this space get to relax and enjoy the scenery where a tree is planted. Meanwhile, the triangular blue sky framed by the containers allows the visitors to temporarily escape from the city`s hustle and bustle.  © Tsao Yu-Chen  This posting includes an audio/video/photo media file: Download Now |
| Cubby Office / Krisna Cheung Architects Posted: 16 Oct 2017 10:00 AM PDT  © Nic Granleese
 © Nic Granleese From the architect. The line dividing work and personal life are getting blurry in this age of technology, and it's no exception for architects. This personal project, the extension to the previous Studio Garage project, utilizes similar facade but for a different purpose, and therefore, a different type of commercial space is built inside it. .jpg?1507869261 "Plans") Plans Blurring the line between work and home life is exactly the desire behind this project. We aim to bring together the seriousness of work with the playfulness of our children, thus the Cubby Office, which allows us to monitor and connect with the kids during working hours. It is made possible by the perforated metal sheet which is used as the floor for the upper level. It serves as the element of surprise and playfulness -which identify it as the cubby space. It achieves both aesthetic and functional purpose; the translucent floor creates a feeling of soaring high ceiling for the otherwise tight space.  © Nic Granleese The semi-solid floor also allows a more efficient use of lighting and energy, whether it's the heat coming from the ground floor or the cool air from the air conditioning on the upper floor. It moderates the building's temperature as a whole. Surprise and playfulness continue to be the theme for this construction even to the functional part. Every nook and cranny is maximised as storage with shadow lines as a handle, giving them the illusion of being secretive.  Sketch Then there is the "secret" deck, meant to replace the outdoor courtyard where the Cubby Office now stands. The unassuming space takes advantage of the vantage point to city skyline where the family can enjoy the unobstructed views of New Year's Eve fireworks and celebrate the alliance of their work and home life.  © Nic Granleese  This posting includes an audio/video/photo media file: Download Now |
| Hariri Pontarini Architects Unveil Waterfront Skyscraper Development for Toronto Posted: 16 Oct 2017 09:30 AM PDT  Courtesy of Hariri Pontarini Architects Hariri Pontarini Architects and Pinnacle International have unveiled the design of three glassy skyscrapers that will make up a new development on the Toronto waterfront. Known as One Yonge, the complex will consist of over 4 million square feet of mixed-use space spread across five new buildings and a total renovation of the existing Toronto Star building.  Courtesy of Hariri Pontarini Architects On the northern side of the site, three residential towers capping out at 95, 80 and 65 stories will comprise hotel, affordable housing, retail and a community center. The southern block will be more commercial-oriented, with two new office towers and the reclad Toronto Star building. The development will connect to the Toronto's underground pedestrian system, the PATH, as well as public transportation and simple, safe pedestrian and cyclist infrastructure.  Courtesy of Hariri Pontarini Architects  Courtesy of Hariri Pontarini Architects "We are looking forward to developing this landmark community on Toronto's revitalized waterfront", said Micheal De Cotiis, President and CEO of Pinnacle Internationa. The first phase will encompass the 65-story tower, and which is expected to break onto the market in the next few months, with subsequent phases to follow.  Courtesy of Hariri Pontarini Architects  Courtesy of Hariri Pontarini Architects  This posting includes an audio/video/photo media file: Download Now |
| 8 Projects Win ARCHMARATHON Awards for Best Projects in the Americas Posted: 16 Oct 2017 08:10 AM PDT  ARCHMARATHON has announced the winners of their 2017 Awards Program as the event, which took place at Faena Forum in Miami from October 12-14, comes to a close. Now in its 4th edition, the Awards focus on architecture studios that have been actively practicing in USA, Canada, Central America and Latin America. Winners were chosen by a jury consisting of Luca Molinari, Francisco Pardo, Sebastian Salvat, Alejandro Paredes Fontanals and ArchDaily's David Basulto and David Assael in in 8 themed categories: MOVING, LIVING, DREAMING, WORKING, CHILLING OUT, CARING, VISIONING and RE-THINKING. This year's overall winner was awarded to Rozana Montiel | Estudio de Arquitectura + Alin V. Wallach for their community space, Common Unit. See all the winners below: OVERALL Winner & MOVING (Infrastructure & Transportation \ Landscape & Open Spaces)Common Unit / Rozana Montiel | Estudio de Arquitectura + Alin V. Wallach  Common Unit / Rozana Montiel | Estudio de Arquitectura + Alin V. Wallach. Image © Jaime Navarro Motivation: This project solved the problem of segregation transforming boundaries and limits into encounters and quality of life creating a community building. LIVING (Interior Design of Private Housing \ Architecture of Private Housing \ Residential Buildings)Stealth Building / WORKac  Stealth Building / WORKac . Image © Bruce Damonte The materialization of a risky scheme that is suitable for the future of dense, historical centres. DREAMING (Art & Culture \ Education Buildings \ Civic & Community Architecture)Jan Shrem and Maria Manetti Shrem Museum of Art / SO-IL  Jan Shrem and Maria Manetti Shrem Museum of Art / SO-IL . Image Courtesy of SO-IL This project shows a strong a strong relationship between architecture and community becoming a domestic landmark through a smart and simple solution WORKING (Office Interior Design \ Office Architecture)Mallol Design House / Mallol Arquitectos  Mallol Design House / Mallol Arquitectos. Image Courtesy of Mallol Arquitectos This architectural solution challenges the urban standard and shows how an alternative uses of pre-existing heritage can be transformed into a public hub. CHILLING OUT (Bars & Restaurants \ Hotel & Leisure \ Commercial & Retail)Tulum Treehouse / Co - Lab Design Office + Annabell Kutucu  Tulum Treehouse / Co - Lab Design Office + Annabell Kutucu. Image © Brechenmacher Baumann It's a clean project carefully executed, environmentally aware built with the collaboration of local craft-men to deliver a lively experience. CARING (Sport Centers \ Helthcare Centers \ Spa & Wellness Centers)Centre Hospitalier de l'Université de Montréal (CHUM) / CannonDesign + Neuf Architect(e)s s_-_CHUM.jpg?1508179985 "Centre Hospitalier de l'Université de Montréal (CHUM) / CannonDesign + Neuf Architect(e)s. Image Courtesy of CannonDesign + Neuf Architect(e)s") Centre Hospitalier de l'Université de Montréal (CHUM) / CannonDesign + Neuf Architect(e)s. Image Courtesy of CannonDesign + Neuf Architect(e)s A difficult and challenging area and complex program transformed into a simple, public, open condenser caring for the community. VISIONING (Future Building \ Urban Planning)Maison Glacé / ELASTICOSPA+KFA  Maison Glacé / ELASTICOSPA+KFA. Image Courtesy of ELASTICOSPA+KFA This project shows an innovative and a forward thinking solution for difficult climatic conditions considering the future, drastic climate change. RE-THINKING (Retrofitting & Refurbishment)Totihue Chapel / Gonzalo Mardones Arquitectos  Totihue Chapel / Gonzalo Mardones Arquitectos . Image © Nico Saieh A lost symbol of a community has been transformed into a new space of gathering. Destruction become a way to generate new opportunities. Learn more about the awards and event, here.
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| Enrique Martínez Building / Proyecto C Posted: 16 Oct 2017 08:00 AM PDT  © Gustavo Sosa Pinilla
 © Gustavo Sosa Pinilla From the architect. In a large plot of land in the neighborhood of Belgrano a low-scale building is project, intended for multifamily housing, that typologically alternates 15 units of various sizes. The architectural structure is developed looking for the preservation of a special inherited element: an old oak near the internal front line.  © Gustavo Sosa Pinilla  First Floor Plan  © Gustavo Sosa Pinilla A specially designed core achieves four units per floor, all with private palier in the type plants (1st to 3rd). In the front, three-bedroom units with wide living rooms are developed and the back-side presents units of 4 bedrooms and large terraces. The latter are removed from the second floor to make room for the existing oak.  © Gustavo Sosa Pinilla As the final finish of the project, retreats and outdoor terraces generates diverse external situations. On the fourth floor, the front retreat conceives a single three-bedroom apartment with a desk and a horizontally elongated living room. While two three-bedroom units with their own terraces are developed to the quiet part of the building.  © Gustavo Sosa Pinilla The interior design offers free and bright spaces, generating a sense of spaciousness, functionalism and comfort. In the ground floor and subsoil there are 24 parking spaces and at the end of the lot a complementary construction of picturesque character is put in value, functionalizing it to serve as support to the existing pool.  © Gustavo Sosa Pinilla The front facade is proposed to strengthen the horizontal proportion of the building through a concrete grid that emphasizes the horizontal lines and a neutral and uniform ground floor enclosure in all its extension.  © Gustavo Sosa Pinilla In the quiet part of the building the same criterion is used, but generating a withdrawal of the expansions that leaves the protagonism to the oak.  © Gustavo Sosa Pinilla  This posting includes an audio/video/photo media file: Download Now |
| Sluice Point House / Omar Gandhi Architect Posted: 16 Oct 2017 06:00 AM PDT  © Ema Peter Photography
 © Ema Peter Photography From the architect. Sluice Point is located on the southern tip of Nova Scotia within the Argyle Municipality of Yarmouth County. The site is located on a forested high point, adjacent to long, low-lying views of marshland, small islands, and the waters of the Tusket River off the Gulf of Maine.  © Jeff Shaw  Sketch  © Ema Peter Photography The coastline is scattered with very few small, traditional cottages and homes, far from overdeveloped with new buildings. From the initial site visit, it was clear that any proposed building would need to be respectful. The form of the building would be low, long and horizontal and the material palette would be composed of natural, local materials which would blend into the landscape. Formally, the building is inspired by the infamous Acadian salt water haystacks, "une barge", which dot the local landscape. Historically, the haystacks allowed for storing hay on the open marshes on structures which kept it elevated and protected from the water when the marshes flooded.  © Ema Peter Photography The clients are Swiss seasonal occupants, using the dwelling as an outlet for recreational activities such as swimming, fishing, boating, hiking and more. As such, it was crucial that space is designed to be durable, rugged and easily maintained. This was achieved by using a consistent palette of natural and raw materials such as concrete and local wood cladding.  Main Floor Plan The client had several requirements that we were able to integrate into the early stages of design. The great room space was to be open, versatile, and free from distraction when required to emphasize the exterior view. This translated into space which could be transformed from a fully programmed interior space to one which was completely concealed and minimal. Flexible elements such as a series of sliding panels, barn doors, and a central, rotating fireplace allow the center of activity and gravitation to shift easily and flow naturally.  © Ema Peter Photography The program required both open and covered outdoor deck spaces. One was to be used as a morning deck off of the master suite where the client could enjoy a cup of coffee and take in the early sunrise to the east. The second, a covered deck, was to be a space for evening entertainment, an extension of the living room where occupants and guests could enjoy the rotating fireplace from a covered space that could extend use into the shoulder seasons.  © Ema Peter Photography The semicircular design of the residence places the living areas along the 'views' side while weighing the services to the back of the floor plan. The structure is composed of flanking bedroom wings and a central indoor/outdoor great room space which is clad entirely in local clear spruce and birch millwork. The monolithic look has a feeling of the space being carved from the wood exterior form.  © Ema Peter Photography The materiality, form, and siting are all intrinsically connected to the local condition. The economical shed roof is inspired by local fishing sheds and shanties spread along the NovaScotia coastline – gently morphed. The roof framing spans the exterior walls, making for the most economical and efficient roof form possible. Both wall and roof are clad in the same eastern white cedar, locally sourced, creating a full wood shingle shell.  © Jeff Shaw As one approaches the residence they are faced with a low-slung roof, gently canted wall, and a minimal amount of glazing in the form of broken dashed dot ribbon. The apex of the elevation is highlighted with a shining white hoop marking the entry and piercing the center of the home.  © Ema Peter Photography The entry hoop is in the orientation of a tall corridor, compressed on the sides. In extreme contrast, as one enters the space, passes through the threshold, and enters the great room, they are presented with a long, low horizontal panorama of the marshy coastline and island-dotted ocean view. Until the point of entry, the panoramic view of the landscape is withheld from the visitor as the width of the house conceals the dramatic sight.  © Doublespace Photography  This posting includes an audio/video/photo media file: Download Now |
| Winners of First-Ever Africa Architecture Awards Announced Posted: 16 Oct 2017 05:30 AM PDT  Grand Prix winner: Umkhumbane Museum, South Africa / Choromanski Architects. Image Courtesy of Africa Architecture Awards The winners of the inaugural Africa Architecture Awards have been announced. Established by St. Gobain with the goal of "stimulating conversations about African architecture as it cements its place in a global continuum," the event represents the first ever Pan-African awards program of its kind, with more than 300 projects from 32 African nations being considered by a steering panel led by Professor Lesley Lokko, ambassador Phill Mashabane, advisor Zahira Asmal, and architect David Adjaye. "The Africa Architecture Awards are very critical," said Adjaye. "Now is the time to promote excellence and best practice on the continent. The Africa Architecture Awards are particularly important because this is the moment that a lot is happening on the continent in terms of development, in terms of the architecture that's being produced." An initial shortlist of 21 projects was chosen earlier in 2017 by the competition jury, which comprised leading African architects and academics including Anna Abengowe (Nigeria), Guillaume Koffi (Côte d'Ivoire), Professor Edgar Pieterse (South Africa), Patti Anahory (Cape Verde), Tanzeem Razak (South Africa), and Phill Mashabane (South Africa). From those 21 projects, winners were chosen in 4 categories, with an overall Grand Prix winner taking home the top prize of $10,000 USD. Find the list of winners below. Built and Grand Prix WinnerUmkhumbane Museum, South Africa / Choromanski Architects [The Umkhumbane Museum] provides the opportunity for contemporary culture and powerful heritage to converge, serving as a tool for social, economic and ecological regeneration. As part of a broader urban strategy, the site seeks to activate and network various cultural nodes within the community of Cato Manor through community involvement, local artists and leaders.  Grand Prix winner: Umkhumbane Museum, South Africa / Choromanski Architects. Image Courtesy of Africa Architecture Awards The urban strategy aims to use technology and public space innovatively to access, network and enhance the culture, serving as a tool for community members to leverage in the co-creation of today's Umkhumbane Culture. The stories of Umkhumbane in the 1940s were example of diversity and community during apartheid. Cato Manor today could provide much needed stories of regeneration and redress in South Africa.  Grand Prix winner: Umkhumbane Museum, South Africa / Choromanski Architects. Image Courtesy of Africa Architecture Awards Critical DialogueForum de Arquitectura / CEICA, Angola "Fórum de Arquitectura" (which means Architecture Forum) is an annual event that takes place in October, in the historical heart of the city of Luanda, where it is located at the Lusíada University of Angola. It began in 2006, as part of the activities of the Department of Architecture and restricted to its teachers and students. Today, after years of continuous battles and perseverance, it can be said that it is the largest academic event in the area in Angola, which celebrates not only Architecture, but also everything that surrounds it. It raises debate on several disciplines, promotes interchange between universities at international level, has developed, over the years, own identity, and established a tradition in the angolan academic world. SpeculativeThe Territory In-between, Cape Verde / Guinea's Aissata Balde, Graduate School of Architecture, University of Johannesburg We live in an era of unprecedented migration. According to the UNHCR, the world is currently experiencing more human displacement and migration than after World War I. This project explores the interplay between physical and imagined spaces, through the fluidity and stasis of human mobility in Cape Verde in ways that allow us to rethink our ways of understanding the state, boundaries and space.  Courtesy of Africa Architecture Awards Emerging VoicesThe Exchange Consulate: Trading Passports for Hyper-Performative Economic Enclaves, South Africa / Nigerian student Ogundare Olawale Israel of the Graduate School of Architecture, University of Johannesburg Located in the CBD of Johannesburg City and known to only the elite few, otherwise considered as the 'outsiders or travellers", lies a hidden architecture created by economic enclaves for 'informal' residents of the city including foreign migrants.These enclaves are organised activities, conducted by minority groups in order to maintain strong boundaries and a sense of identity within places they find themselves. Through these enclaves, migrants in Johannesburg city are able to access and obtain social and economic benefits that sustain their stay within the city. In this, we discover the existence of a "neo" form of "passport" that determines when and how enclaves of Johannesburg city are accessed by migrants. These passports are in different forms ranging from ethic group, to language, to cultural beliefs and apparel. By way of appearance, a migrant urban dweller for example is able to have access to work opportunities within a particular space in the city. This access comes by way of identity, acceptance and a sense of belonging for the migrant, and trust and reliability for those providing the opportunity. We therefore find apparel to be one of the many passports used by those otherwise considered "outsiders".  Courtesy of Africa Architecture Awards "Although this is only the first edition of the Africa Architecture Awards, we believe we have captured an incredible moment in time for Pan-African architecture," commented MD of Saint-Gobain Retail Division, Evan Lockhart-Barker. "Having launched the first-ever awards of its kind, we've seen the incredible response from architects working across the continent. The values and aspirations displayed in the awards have led to incredible insights about the continent and its shape-shifting ways." "Yet we still have a way to go to write our own story about architecture and its role here. Africa is indeed rising... but due to the continent's resourcefulness and complex regional identities, we've already learnt that our awards programme requires even more diversity to capture Africa and all its spectrums. We look to future editions of the awards to achieve this." More information about the awards can be found on the official website, here. News and project descriptions via African Architecture Awards  This posting includes an audio/video/photo media file: Download Now |
| Palazzo del Cinema di Locarno / AZPML + DFN Dario Franchini Posted: 16 Oct 2017 04:00 AM PDT  © Giorgio Marafioti
 © Giorgio Marafioti Pardo d'Oro  © Giorgio Marafioti  Axonometric
When conceiving our proposal for the Palazzo del Cinema di Locarno, we have tried to avoid the dominant trend during the last few decades, that public architecture needs to make extravagant gestures in order to curate our cities' public realm. In the aftermath of the 2007 global financial crisis and rampant global warming –and perhaps the demise of "starchitecture" as a default procedure to build urban identity–, our proposal is guided by principles of economy, trying to capitalise in the existing structure and the public affection for the Palazzo Scolastico –which used to host the local schools and now hosts a variety of NGOs and community associations, to provide an architectural identity for the new cinema complex in Piazza Remo Rossi.  © Giorgio Marafioti  Ground Floor Plan  © Giorgio Marafioti There are two primary aims in our project: - Economy of resources through urban recycling. At a time when energy resources are dwindling and climate change has become a crucial problem for our cities, it would have been irresponsible to simply discard the existing building in order to build an entirely new one, with the corresponding expenditure of vital resources. Urban Recycling is a more adequate strategy for this intervention. Revitalising the Piazza Remo Rossi as an urban public space associated with the new function of the building as a new Film Centre for Locarno is also an important part of both the urban strategy and the branding strategy for the Film Festival, which has a tradition of occupation of open urban space.  © Giorgio Marafioti  Intervention  © Giorgio Marafioti - Consolidation and rebranding of the public identity of the Palazzo del Cinema di Locarno. It is our intention to capitalise on both the visibility and the public appreciation for the complex formed by the Palazzo Scolastico and the Piazza Remo Rossi in order to provide a strong urban identity to the new facility for the Film Festival and the Film Centre, and to weave those two institutions effectively into the urban fabric of Locarno. The building needs to assume the representation of its new function as a centre for international film culture with a distinctive presence, while being able to consolidate the pre-existent urban fabric. The articulation between the old building's fabric and Locarno's Film Festival, the CCCA and the AF will produce the new physical presence of the complex.  © Giorgio Marafioti  Kinetic Section Detail  This posting includes an audio/video/photo media file: Download Now |
| This 3D Printer, Designed Specifically for Architects, Is Surprisingly Easy to Use Posted: 16 Oct 2017 03:15 AM PDT Have you ever spent hours calibrating the nozzle of a 3D printer or preparing a print-ready file – only to find that the model has failed because of a missed zero-thickness wall? With this in mind, the Platonics Ark—a 3D printer currently being developed in Helsinki, Finland—has one simple goal: to remove all unnecessary set-up and technical processes by means of intelligent automation and, as a result, almost entirely eliminate the wasted time that architects and designers spend calibrating printers, or working up print-ready files.  © Platonics Platonics claim to reduce pre-processing time from hours to minutes; the printer itself is self-cleaning and self-calibrating with a modular design that "spares the user from messy cleaning and handling clogged parts." According to the company, moving from CAD file to 3D printable STL files takes no more than four steps with their software, which plugs directly into Archicad, Revit, Rhino, Vectorworks, and Sketchup. Uniquely among other 3D printers currently available, the file is delivered to the printer by way of an intuitive, playful web application.  © Platonics By engaging with practices in Finland and beyond, the Platonics team claim to have had 1,027 conversations with architects in developing the prototypes of the Ark. In addition to this, they have conducted an intensive piloting period with the likes of JKMM Architects, Lunden, Serum Architects, Verstas Architects, and Studio Puisto. For Samuli Woolston of ALA Architects, a practice who are co-developing the prototype with Platonics, "there's nothing like a physical model to explain a form." Having used 3D printing as a tool for assessing design iterations of complex forms for over a decade, "the challenge for us is in the amount of hours our staff spends on maintenance and pre-processing files."  © Platonics If this device is attempting to reclaim the 'immediate' sketch model in architectural practice, it has one distinct advantage: alongside conventional matte and transparent printing materials, it can also work with "Wood, Terracotta, Clay, Granite, Concrete, Copper, and Bronze." Platonics Ark is now available for pre-ordering through Indiegogo. According to the company, product deliveries for backers are targeted to start in April 2018, and full-scale production is set to launch in May 2018. Super early bird pricing starts from 2,095 EUR.  This posting includes an audio/video/photo media file: Download Now |
| Dos Pieles House / Verónica Arcos Posted: 16 Oct 2017 02:00 AM PDT  © Cristobal Palma / Estudio Palma
 © Cristobal Palma / Estudio Palma From the architect. The Two Skins House is a family beach house located on the coast of Chile, 180 km to the North of Santiago in the Huaquén del Mar condominium. The project deals with the exploration of ruled surface geometries on the house envelope, in order to provide optimal thermal insulation and the incorporation of views towards the Pacific Ocean.  © Cristobal Palma / Estudio Palma The floor plan consists of a rectangle oriented towards the North, obtaining maximum sun exposure. The house is positioned on an axis that responds to voids in the surrounding forest, which allow for views of the distant ocean. One to the North, allowing all the rooms to enjoy the view, and another to the West, providing the view of the sunset during the Summer season.  First Level Plan  © Cristobal Palma / Estudio Palma  Second Level Plan The house is built entirely of wood. The first skin of the envelope is made of pine and OSB structure walls, insulated by mineral wool and coated in zinc to seal it from humidity. The second skin generates a ventilated façade. This, combined with a cross-ventilation system throughout the volume, allows the house to remain very cool in the seasons of heat. The second skin is the visible face of the house, and proposes a dynamic aesthetic of gradual variation, through the interpolation of wooden elements, resulting in a warped surface, both in the longitudinal facades and on the roof.  © Cristobal Palma / Estudio Palma  Construction. Image Courtesy of Veronica Arcos The operation is similar to the South and North facades, where an eave is generated over the windows and doors, and the envelope is folded until reaching the lead of the eave, returning to the original lead gradually, by means of a fold in the opposite direction at the bottom of it. It was intended to work with a simple volume, without convexities, and to give it expression through the double curvatures of its envelope. Those are perceived subtly in the interior of the house and become more expressive from a distance.  © Cristobal Palma / Estudio Palma  Section D  © Cristobal Palma / Estudio Palma The house is nine meters high at its tallest point, just above the master bedroom, on the second floor, and four meters at the lowest point. At the North-South axes of each of these points, lines of opposite slopes are constructed, and through their interpolation, they form a hyperbolic paraboloid on the roof. The finish of the house is made of impregnated pine dyed dark brown, which integrates with the colors of the environment, in a dialogue with the landscape.  © Cristobal Palma / Estudio Palma  This posting includes an audio/video/photo media file: Download Now |
| Posted: 16 Oct 2017 01:00 AM PDT
Have you ever been stuck for hours obsessing over a font that matched your work? Before starting a project, do you already think about which font you will use? Do you get annoyed when you read an important message written in Comic Sans? Or do you feel offended when a mundane sentence is written in all caps? Rest assured, you are not alone. Architects and designers constantly use graphic elements as expressive means in the schematization of their works. Among them, the most common are the drawings, in a constant variety of techniques, styles, and patterns. But among the elements that make up the boards, panels and drawings, techniques and models, there is a particular fragment that helps them in composition and identity: the font.  © José Moscardi  Cortesia de Boa Mistura Fonts establish one of the pillars of Graphic Design and can be defined as a set of systems to the impression of types. Types are the designs assumed by a particular family of letters in their pattern. Within the family, there are variations between the letters (light, italic and bold), by the type of box (high - upper and lower - lowercase), by source classification, including Sans - serif (without serif), Serif (with serif), Script (cursive) and Dingbat (ornamental), in addition to numerous other identity features of the same.  © Pedro Vada It is worth mentioning that the importance of fonts in the graphics schemes of designers and especially of architects is fundamental in graphic communication to nonverbal reading. The correct choice of typography leads to mental logic in reading certain graphics piece, whether a drawing, text or even a scheme, an inviting act the reader through imaginary bridges between the real and the imaginary. In architecture, font models are not restricted to the papers and graphic presentations of architects, but also in the composition of facades, projects of visual identity of buildings and, above all, in the use of vernacular typography by the people as a cultural manifestation in approach to the popular, revealing the need for varied expression in the different layers and poles.  © St+art India We have selected some font models used by architects, from technical drawings to diagrams. Many of them are paid fonts, there is also the option to find good free fonts here. Check out our selection below: Futura
Created by Paul Renner in the 1920s, this font is a classic Modern Graphic Design. Inspired by Bauhaus techniques, it uses straight lines and curves in syntony, providing balance in the textual set. However, despite the visual cleaning, this font should not be used in long texts, due to the visual exhaustion provoked. Indicated to punctual texts in the architectural boards, such as titles and subtitles. It is highly used for visual identity in corporate buildings. By this font here. Bauhaus
Developed by the graphic designer Herbert Bayer, in 1925, its conception is perceived with, timelessness, transcending time. Its creator studied at Bauhaus between 1921 and 1923 under the direction of Kandinsky and Moholy-Nagy. Used until the present day, it is mostly attributed to titles and subtitles in the composition of boards. This font is usually installed with Windows and can be purchased here. Neutra
In honor of the important modernist architect Richard Neutra, graphic designer Christian Schwartz took care of designing the alphabet according to the architect's layout. Julius Schulman and Dion Neutra also participated in the process. It is highly used in the works of Architecture and Design as a competitor for Futura. Buy the font here. Bodoni
Created in 1767, by Giambattista Bodoni, this font is characterized by its high aesthetic strength and should be used with caution. Due to the set of lines and striking presence of its letters, it is not indicated for long texts, but for highlights, such as titles and details. Buy the font here. Gotham
Inspired by the typical letters used in signage and architectural visual identity, it was conceived in the 2000s by designer Tobias Frere-Jones. Widely used for publicity, due to the idea of credibility transmitted by its lines, in architecture, this font should be used in business cards and logos. Download this font here. Butler
Between Bodoni and Dala Floda, Butler consists of a modern typography along curvilinear lines. Due to its strong personality, it is indicated for titles and logos. Download this font here. Consolas
Widely used for long texts, this font is ideal for competitions and university boards, or even text boxes in graphic details, because of its clean aesthetics and proportion of lines allows long readings without tiring the reader. The typography, designed by Lucas deGroot, is also widely used in books and specialized Architecture magazines. On Windows, this font along with other five (Cambria, Constantia, Corbel, Candara, and Calibri) are among the most used typologies, with no need for external acquisition. Helvetica
The majority of architects, even without advanced knowledge of graphic design, intuitively select sans serif typefaces, due to its minimalism and straight lines. Among the most used texts, as well as the previous case, Helvetica is notorious among professionals. Built in the twentieth century, by Max Miedinger and Eduard Hoffmann, it is strongly associated with modern graphic design, due to its set of lines and layout its designer sought a neutral and concise design. Buy this font here. Modeka
For those who like versatile and yet subtle fonts to compose their boards, this typography is ideal for that. In a system of hybrid lines, between rationalism of straight lines and the break of staticity of the curved line, this font created by Gatis vilaks, privileges a harmonious set. It is suggested for titles, subtitles and textual details in the graphic composition of boards and drawings. Download this font here. Poplar
Designed by Barbara Lind, this font is part of Adobe, its use presents personality and strength in its composition, ideal for a wide range of applications, such as boards, diagrams, and schemes. This font would be well used in titles, subtitles, and details. This font belongs to Adobe. It can be purchased here.  This posting includes an audio/video/photo media file: Download Now |
| How to Make Beautiful Stylized Floor Plans Using Photoshop Posted: 16 Oct 2017 12:00 AM PDT  Courtesy of RenderPlan This article was originally published by RenderPlan as "How to Render an AutoCAD Floor Plan with Photoshop." Rendering plans in Photoshop is an essential part of presenting your work to your client or to convince a competition jury to pick your design as a winner. Whenever you publish your work for books, websites or presentations the design quality of your plans will be your business card to future clients and the audience you build around your practice. Let's start step by step.
1. Structuring your CAD drawing in AutoCAD The raw AutoCAD floorplan. Image Courtesy of RenderPlan In this article, we will cover the principle steps of how to export a floor plan drawing from AutoCAD and render it with Adobe Photoshop. The art is to create aesthetic looking plans that are not too overloaded with colors and textures. In order to speed up your workflow, you should already structure your CAD drawing in a way that helps you to be faster in Photoshop later. The graphic above shows the principle drawing style of a simple office floor plan in AutoCAD right before exporting. Here are the things you should do in your AutoCAD DWG: 1.1 Structure you drawing on different layersThis is of course not a magical advice but it really critical to do so and to be able to export different parts of you drawing to single PDF files later. 1.2. Use solid hatches to fill parts of your floor planAs you see in the AutoCAD screenshot graphic above the following parts of the floor plan drawings are filled with solid hatches on unique layers:
1.3. Create a layout window for each element you want to export separatelyYou should create a layout window with the same fixed size and scale for each part of the drawing you want to export. In the layout frame you show only the layer you want to export. Freeze all others. With the "Publish" function of AutoCAD you could simply export the entire layout windows to PDF files in one steps. The outcome size of your layout windows will be the size of your Photoshop document later. See the graphic below, which shows the different layout windows I created in AutoCAD to export my drawing to single PDF files.  Courtesy of RenderPlan 2. Exporting your DWG drawing to PDF filesHave you finished your CAD work and structured your drawing the way explained above? Great, now you are ready for the next step: 2.1 Export your drawing to multiple PDF filesWhy multiple? Because this is necessary to structure your Photoshop PSD file into the elements you need for rendering your plan. In order to do so, you should export single layers of your DWG by freezing all others layers and using the layout window you created for the object. I exported 10 different PDF files for this office floor plan case study. Sounds a lot, but you will save the time later when it comes to photoshopping. 2.2 Open your PDF Files in Photoshop with 200 dpiIf you open your exported PDF Files with Photoshop you will see a pop-up screen that will ask you with how many pixels you want to open the file. I always use 200 dpi because it is enough for high-quality printing and keeps the files size manageable. If you have a fast Mac or PC engine and want a really high quality, let's say for a book publishing, then 300 dpi would be good for you. But there is no need to go higher because your file size will explode and your computer will slow down. 2.3. Layer all PDF files in one PSD fileYou have 10 different PDF files opened in Photoshop now. Next step is to layer those files in one file. Since all of the documents have the exact same image size you can simply duplicate layers into one master file by right-clicking on the layer and choosing the file you want to collect all of the elements. I always use the Lines.pdf as my master document. Once finished you should save that file to a PSD file and close all the others. The following graphic shows how my raw layered PSD file looks and how I sort the layers in order to get ready for coloring and texturing.  Courtesy of RenderPlan 3. Rendering your plan in PhotoshopNow we are coming to the fun part. You have sorted your raw PDF elements in one Photoshop PSD file. This is the point where you are ready to add colors and textures so your plan will look great for publishing. 3.1 Adding textures and colorsThere are of course many ways to add colors and textures with Photoshop. But you are prepared to be really fast now. Why? Because you have already all the selections for the separate plan elements like walls, floor or furniture. Let me show you how simply you could add different colors to your floor plan. Go to your layer palette and double click on the hatch layers of the rooms or corridors. The following window will pop up:  Courtesy of RenderPlan In order to create a subtle and abstract looking surface you can use a concrete pattern and overlay it on your layer. If you want to choose from a wide range of textures just browse cgtextures.com and you will find everything you need. For the red look I use a color overlay and put the blend mode on "multiply" and the opacity on 30% for the office rooms. The corridors are on 10% opacity. The layers will look like this then:  Courtesy of RenderPlan Here is a list of the layers of the floor plan PSD with the layer settings I use to create the style below:
 Courtesy of RenderPlan The order of the layers is like you can sort them in your PSD. See the outcome of those easy steps below. This is the final rendered floor plan. The only thing you still have to do is to add shadows! 3.2 Creating shadows for your floor planWe still have to create the shadows, so the floor plan will look more plastic. Shadows are great for understanding the different spaces, heights, and depths of the design. I am a huge fan of drawing my shadows already in AutoCAD and exporting them in a single PDF file like the method explained above. You can then easily import them on a layer above all other layers. Fill the shadow hatch with black color, set the layer on multiply and 15-25% Opacity. And you are ready. The other way is to create them in Photoshop on a new layer with the rectangular marquee tool (M) and the paint bucket for filling them with black. I like the AutoCAD way more because it is more accurate and faster for me but this would depend on your skills of course.  Courtesy of RenderPlan 3.3 Choose the graphical style you wantOnce you are done with the steps described above you have created a PSD file with which you could easily play around to change the output styles of your floor plan graphic. By just changing the layer effects I created the following design styles shown in the graphic below. You might want to do the same in case you don't like the red style.  Courtesy of RenderPlan  This posting includes an audio/video/photo media file: Download Now |
| Which Are The Most Used Materials in Social Housing? Posted: 15 Oct 2017 11:00 PM PDT  © Ana Cecilia Garza Villarreal Choice of building materials and the inherent continuous reflection about the reach and capabilities of architecture are an interesting alternative way to approach this issue. The materials used in social housing should address local and economic possibilities and the real needs for access to housing in the contemporary context. In this article, we analyze different projects published on our site to identify some of the predominant materials used in social housing, both for the formation of structures or enclosures. The intentions of this are two-fold: firstly, to create a worldwide panorama of different case studies with different construction styles from a range of geographical locations, and secondly, to provide inspiration and tools to architects to make better social housing. Below we present 15 social housing projects and their diverse materials and construction styles. Dry wood framing with undulated zinc sheet roof and wood residue chipboards.Architectural System for Rural Social Interest Housing / Ensamble de Arquitectura Integral  © Juan Pablo Pardo Dry wood framing with aluminum and zinc alloy coated steel sheets with PVC frame.Villa Verde Housing / ELEMENTAL  © Suyin Chia Reinforced concrete frame, impregnated pine with double skin coligüe (rügi).Ruca Dwellings / Undurraga Devés Arquitectos  © Guy Wenborne Beam-column frame structure reinforced with concrete block masonry and ceramic block.Casa Cubierta / Comunidad Vivex  © Ana Cecilia Garza Villarreal Prefabricated wooden structure with bamboo weave.Soe Ker Tie House / TYIN Tegnestue  © Pasi Alto Reinforced concrete structure with concrete blocks.Quinta Monroy / ELEMENTAL  Cortesía de ELEMENTAL RC structure with cement blocks.SOS Children's Village In Djibouti / Urko Sanchez Architects .jpg?1504815502 "© Javier Callejas") © Javier Callejas Concrete block, prefabricated slab panel, plastering on block.Monterrey Housing / ELEMENTAL  © Ramiro Ramirez Pre-molded concrete frames, corrugated cement board, nipa palm panels.S House / Vo Trong Nghia Architects  © Hiroyuki Oki Brushed pine, plasterboard, aluminum frame.Social Rural Housing FNH / Pontifical Catholic University of Chile team  Cortesía de Pontificia Universidad Católica de Chile Reinforced concrete structure and unidirectional forged reinforced concrete slab foundation.26 Homes in Umbrete / Gabriel Verd Arquitectos  © Jesús Granada Facade with precast concrete pieces.Barajas Social Housing Blocks / EMBT  © Roland Halbe Prefabricated structural insulated panels (SIP) used for roof and walls.Studio 19 Community Housing / Strachan Group Architects, Studio 19  © Jackie Meiring Flat plate with small wave sine plate.Housing Building in Carabanchel / Amann-Canovas-Maruri  © Miguel de Guzmán Reticular lightened slab, plaster flat with vinyl paint finish, aluminum frames.Cacamatzin 34 / DEA Diseño Exterior y Arquitectura  © Onnis Luque  This posting includes an audio/video/photo media file: Download Now |
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