Arch Daily

Sou Fujimoto's Naoshima Pavilion Photographed by Laurian Ghinitoiu
72h Cabin / JeanArch
Apartment in Chiado / Commerzn | Linha de Terra Architecture
Baitasi House of the Future / dot Architects
Transmission-Field Tandem / CHU-studio
Baisha Old Town Retreat / Atelier8 + Atelier GOM
LEGO Shanghai / Robarts Spaces
Sidewalk Labs Announces Plans to Create Model Smart City on Toronto's Waterfront
Ruyton Girls' School - Junior School Campus / DP Toscano Architects + Sally Draper Architects
Dos de Maig Apartment / AMOO
MVRDV Create Park-Topped Community Center for Shanghai Neighborhood
Malmo Building / Taller David Dana
Interactive Spy Museum Designed by Adjaye Associates to Open in New York City
House in La Comarca / Anibal Bizzotto + Diego Cherbenco
Interview with Javier Sanchez: “Where are the Projects? Let’s Find Them!”
PANEUM Center / Coop Himmelb(l)au
Using LEGO to Save Crumbling Cities and Buildings
Architecture Costumes For Halloween, Carnival and Office Parties
Spotlight: Alejandro Zaera-Polo
Veoveo House / MLMR Arquitectos

Sou Fujimoto's Naoshima Pavilion Photographed by Laurian Ghinitoiu

Posted: 17 Oct 2017 09:00 PM PDT

The Naoshima Pavilion by Sou Fujimoto is one of the more recent additions to the world-renowned "Art Island," and is located only meters away from Naoshima's boat terminal (designed by SANAA). The lightweight, highly-transparent mesh-like steel structure was conceived and constructed for the 2016 Setouchi Triennial. Photographer Laurian Ghinitoiu has turned his lens to the project which, in spite of its modest size, casts a striking silhouette on the island's coastline.

Sou Fujimoto's Polyhedral Pavilion Shapes The Art Island of Japan
Located a few meters from the terminal of Naoshima, the Japanese island better known as the "Art Island", Sou Fujimoto's Pavilion appears as a translucent and lightweight diamond perched on the coastal edge of Kagawa, visible from SANAA's ferry terminal welcoming the visitors to the island.

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72h Cabin / JeanArch

Posted: 17 Oct 2017 08:00 PM PDT

Architects: JeanArch
Location: Centrumvägen 2, 666 30 Bengtsfors, Sweden
Lead Architects: Jeanna Berger
Area: 5.0 m2
Project Year: 2017
Photographs: Jeanna Berger

Collaborator: Fridh & Hell's Bygg
Client: Turistrådet Västsverige

From the architect. These tiny buildings are created specifically for the environment that they are in. Every design decision has been made to either enhance the experience of the surroundings or shield from it. The purpose of the cabins is to let the people staying in them come close to nature but in a comfortable way.

All cabins are completely off the grid and located on a private island. Simplicity was a necessity – from a construction point of view but also to keep the balance between building and nature.

The timber structure is made from the same kind of trees that grows around it – Norway spruce. Pillars lift the floor up from the ground as a sign of respect for nature – thus the footprint of this building is minimal.

The name, 72h Cabin, which refers to the amount of time five people who participated in the study that Karolinska Institutet conducted about stress, stayed in them. All participants reduced their stress levels drastically.

All boards – the ones on the walls as well as the floor – are set a few millimetres apart from each other, partly because of the movements within the material, and partly because it filters the sunlight in a beautiful way but mostly the reason for this is ventilation. Since there is so much glass the temperature could be very high when the sun is up but because the cabins are well ventilated the indoor temperature rarely differs much from the outdoor climate. Besides, this is not a place for daytime activity - this is the place you curl up a night to look at the stars.

The see-through celling is the main feature of these cabins. You do not crawl into a tent and shut out nature with the pull of a zipper – you climb onto a comfortable bed and start counting the stars.

The bed basically dominates the floor area, it has the same legs as the cabins themselves (glue laminated pillars); this provides storage underneath. The areas around the bed is carefully calculated to be as small as possible but still allowing someone to comfortably sit on the edge of the bed or change the sheets.

The shelves behind the bed are actually the elements necessary for screwing on the boards for the gabel wall, they were deliberately made larger to make this dual function possible.

Anyone who feels the need to stay in one of these cabins can book them online. They are available in several different locations starting in 2018 but the original stay is at the island Henriksholm. For a continuous experience the building company behind them, Fridh & Hell Bygg, will sell them but only to those who place them in a unique and beautiful location.

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Apartment in Chiado / Commerzn | Linha de Terra Architecture

Posted: 17 Oct 2017 07:00 PM PDT

© emontenegro / architectural photography

Architects: Commerzn | Linha de Terra Architecture
Location: R. Ferragial, 1200 Lisboa, Portugal
Architect In Charge: Raul Serra
Area: 130.0 m2
Project Year: 2017
Photographs: emontenegro / architectural photography

Contractor: Ozarko Lda
Specialties: Entrelogica Lda

From the architect. A house made of memories, composed of a narrative of spaces of different areas and proportions, with a high vaulted ceiling and a direct and effective connection between them. Several wounds and scars from the many uses of the space are visible at every moment, much deeper than the superficial remnants that the prolonged closure brings.

The first visits began to be enlightening for the construction of a new stage in the life of that space, which, according to the records available, dates back to 1722 (pre-pombaline) and resisted several stages of the city's history, including Lisbon's great earthquake (1755).

The project was built on two premises: the program to be defined and the strategy of restoration and preservation of each element and detail, that belonged to the legacy of that place. It was a process of proximity, a project truly solved step-by-step, in close relation with the construction. Over the past several months, indelible treasures have been discovered that shaped the final result: 18th century tiles in footers, massive brick vaults, stone blocks from the Fernandina wall, the original wood shutters, etc.

The new history that is built for this place intends to be cared and essential, based mainly on details, materials and technology to improve the experience and permanence of it's different spaces. Artificial light enhances every memory preserved, materials and accessories are sober so they do not overlap the existing space.

A place with memories that allows the new experience to be in symbiosis with the layers of history that shape space.

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Baitasi House of the Future / dot Architects

Posted: 17 Oct 2017 05:00 PM PDT

Architects: dot Architects
Location: Beijing, China
Architect In Charge: Duo Ning
Design Team: Sun Qingfeng, Mao Yanyan
Area: 30.0 m2
Project Year: 2017
Photographs: Wu Qingshan

From the architect. Baitasi House of the Future is located in a historic hutong area of Beijing. The client is a tech company focuses on the smart homes. The commission is to create an experimental house that suits the future lifestyles of young people.

Baitasi is one of the well preserved hutong neighborhoods. The original site had a 30 sqm house and a 80 sqm yard cramped with illegal building works.

When we talk about house we are talking about home. The house of the future should represent such a lifestyle of young people. They can fluidly shift between work and home. Access and convenience are more important to them than ownership. The possibilities of home space outweigh its physical dimension. The boundary between home and society is blurred by the rise of the sharing economy, nomad workers and technology. Our lives are fragmented and can not be accommodated by a fixed layout.

The original house is wood framed. To minimise construction work and reveal the beauty of traditional Chinese wooden structure, we replaced the decayed roof and removed all the interior partitions. Two moveable furniture modules and one fixed module are placed under the new roof. With the moveable modules, the house can have four different layout options. According to the needs of the residents, it can shift from a three bedrooms house to a small office. The facade can be open up to connect the living space and the outdoors.

The moveable modules are controlled by a smart TV. This TV system also controls lighting modes, curtains, security alarm and other home appliances.

Based on the strategy of minimal intervention, we use WikiHouse system for the only new built structure on site. It serves as the kitchen and toilet. The WikiHouse is an open-source project for building houses. It is lightweight and digitally fabricated. Its faster and cleaner construction process suits the crowded and noise sensitive neighbourhood very well.

Compared to many futuristic design, this tiny house is nothing close to future at the first look. But its humble appearance and user adaptive interior may reflect something about the future in the ancient capital.

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Transmission-Field Tandem / CHU-studio

Posted: 17 Oct 2017 03:00 PM PDT

Architects: CHU-studio
Location: 06-1, Yuquan Second Road, Beijing, China
Architect In Charge: Shao Weiyan
Design Team: Yang Yongxin, Zhao Zixin, Yang Huicai
Project Name: Museum Of International Brewmasters Art
Soft Decoration: CHU-studio
Area: 1700.0 m2
Project Year: 2017
Photographs: Zhuang Boqin

Regeneration of old housed- brewing in Beijing years, continuing intoxicating fragrance of the old winery
Secluded side of the road, outside of a large panel of metal grille wall, wine boxes orderly misplaced and interspersed among them, sun light penetrates to an aged factory building in rear, showing the depth of the elevation texture. This project, the Museum Of International Brewmasters Art, locates in the center of Beijing, a ruin of classical Russian structural industrial building. It is an epitome of a Chinese old brand, Dragon Seal Red Wine, experienced the vicissitudes of times and finally retired cause by out of date. Afterward, a group of people found this mottled container, repositioned the spirit with the dense sense of spatial presence of the old winery, reshaped by contemporary design techniques, trying to create more interacting spaces of wine and people, or people and people. Now, it will reload the spirit and extend the Chinese wine culture.

Field tandem- wine-making as the concept, connecting shattered solid space as intermediary
The creation of wine is the fruit of the wisdom of our ancestors, combined with soil, water, fire, grain and other elements, spending the most important time in order to brew an exciting wine. We make this totally natural brewing process to match spatial patterns, formed "soil, water, fire, grain" four fields, each space due to the different function resulting in different spiritual meanings. Therefore, the planning of space and circulation uses soil, water, fire, grain brewing process as conceptual developing, containing dynamic timing in the rich and diverse field. Opening the door hiding from the elevation of grills, first enters the "soil" as the theme of space. The soil is the mother of all things, also ancient pit mud, each gram of ancient pit mud contains hundreds of hundreds of millions of microbes involved in wine brewing. Two earth trowel walls standing in between, create a display gallery in a timetable, rammed earth wall inside the elongated space as a master wine studio for teaching, training, display use. After that, the performance of "Water" is in an attempt to break the traditional Immutable wine display, forming a flowing quiet water feature by cutting and refurbishing the old channel, using of water, light and shadow to catalyze situations, extending "the blood of wine" the axis to the bar area, symbolic of "fire".

Rejuvenation-keeping the old building texture, giving the spatial spirit of contemporary thinking
One side of the bar area, "fire" as design concept, keeps the original large storage tank in the area, the unique birthplace of poetry and wing culture, in this blending area symbiotic of water and fire, people can drink alone elegantly, or drink well, fully showing the true Chinese temperament of loving wine, politician's trickery, small people's life, nostalgia situation of common people arouse by toasting and laughing, hundreds kinds of humanity all hidden in glass. Therefore, we ingeniously transform to separated boxes and cleverly imbed flyovers to activate the second floor seating, tea room and wine cellar

The last of the museum, "grain" as the culmination of the end of song, one grain for one land, thus one wind for one land, sorghum wine and red wine, is the most concentrated taste of each local favor. The wine produced by the winery may be shipped to other places, however, the memory of the old winery can only stand here alone. We capture the image of "grain" for the art gallery where existing order in place and special old hardware left behind, strong contrast between old and new in this sorted out white space, tries to collide the contemporary nature of the art gallery, not expressing the beauty of the ruin by completely "old" but in an ambiguous way of creating another "new".

In the white tone of space, the round openings required for the old winery are converted into the interacting and making dialogue members for the exhibition and viewers, adding the self-evident nature to the space. Open banquet places set up in the second floor, "watching the play" as the concept, create a fusion of new and old by hanging large traditional drama painting, a modern space but with deep cultural heritages. Everything has its end, life and growth in nature, from the life cycle of wine, viewers experience the past of architecture and the new phrase of given, brewing wine just as architecture, as the condensation of times.

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Baisha Old Town Retreat / Atelier8 + Atelier GOM

Posted: 17 Oct 2017 01:00 PM PDT

Architects: Atelier GOM, Atelier8
Location: Baisha, Heqing, Dali, Yunnan, China
Design Team: Jorge Gonzalez, Dai Chenjun, Zhao Qing
Area: 480.0 m2
Project Year: 2017
Photographs: Zhang Jiajing

From the architect. Baisha Old town in Yunnan province is a small village part of Lijiang well known for its Jade Dragon Snow Mountain range. It is still the most legit old town in Lijiang. The typical wood and mud brick houses welcome the visitor to discover the ancient life of the village.

Our project site contains a typical courtyard structure from the past which unfortunately never reached its fate. This failure made us think in a different ways of developing the potential interest of tourism.

Our project searches the limit of the urban fabric. We think of an extension of the alleys through the town where the social life is allocated. We intend to create a little town within the town.

The project is considered from the existing urbanism but without a mere intention of repeating the old codes. It will add new value to the existing urban pattern. Creating the high density we would face the privacy and relationship with the surroundings. These two inputs would eventually configure the project. Our interest to explore these imaginary lines between private and public led to a configuration of single units scattered on the site creating a ramification of the town planning. The project is considered from the existing urbanism but without a mere intention of repeating the old codes. It will add new value to the existing urban pattern. Creating the high density we would face the privacy and relationship with the surroundings. These two inputs would eventually configure the project.

These units are settled on a grid creating series of rows and each unit will rotate to create different situation on ground floor and open to the view. The existing trees determined also the position of the units. These accurate movements create a controlled random‐like disposition.

The goal was to give as much privacy on the ground floor as possible extending the inner space towards the exterior while achieving unique views of the surrounding landscape for each cabin.

The architects soon realize the construction must follow some local technique but still wanted to explore the limits of it. Local crew immediately advice of the pitched roof but due to the square dimension of the rational structure the roof is shaped only one direction. It is the closeness of the units which would protect from the wind and rain.

The entire structure is local pine wood with a 4m square side. First floor is comprised allowing the section to expand later, however the floor is opened for natural light come through and break the horizontal boundary.

Two sides of the square are closed with local black brick on the first floor pushing the interior space outside and stopped by the next door unit wall brick. A concrete‐wood mixed stair, in situ concrete table and iron fireplace complete the set of fixture inside the open plan. Upstairs, the fireplace pipe, the stairs handrail and the mattress configure the layout.

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LEGO Shanghai / Robarts Spaces

Posted: 17 Oct 2017 12:00 PM PDT

Architects: Robarts Spaces
Location: ICC T2. No. 288, Shaanxi South Road, Shanghai, China
Area: 7000.0 m2
Project Year: 2017
Photographs: WangYi

From the architect. When The LEGO Group set out to create its new hub in Shanghai (ShangHub), which is one of five major hubs for The LEGO Group worldwide, people were, as always, placed at the center.

"ShangHub endeavors to embody the LEGO® values of Imagination, Joy, Fun, Creativity, Learning, Caring and Quality to the core. By raising the value of user experience through human centric design, the ambition was to create a world class workplace where only the best is good enough," says Sudhir Saseedharan, Design Manager, Global Design and Engagement, Corporate Facilities.

The Global Design and Engagement team at The LEGO Group collaborated with Robarts Spaces, an interior design and architecture firm headquartered in China, to create the new workspace. The highly integrative design process reflected the LEGO team's objective to create and nurture "engagement through design", fostering collaboration, innovation, fun, respect with global & local connectedness to each other, to customers and to the LEGO brand and history. The ShangHub is the latest LEGO office designed with the "New Ways Of Working" strategy with employees empowered to choose their work setting, from a variety of workspace options, removing physical and organizational barriers to creativity.

Multiple design workshops were conducted, each themed with a different objective, such as overall design principles, functional layouts, and wayfinding providing fun and fostering creativity, but also resulting in thoughtful, inventive consultations on interpreting the LEGO brand into the space. This collaboration was also highly productive, with the design team moving from blocking layout to approved design layout in just four days.

With a range of workspace formats, such as an energizing work café, a Zen Zone, Play Zone, along with team huddle and silent spaces, the team designed a zoning strategy for the three levelled, 7,000sqm space, from Active at the highest floor to Quiet at the lowest floor, with workspaces shifting from highly collaborative to silent. Transitional areas were designed to provide opportunities for spontaneous conversation and creativity, with kiosks located nearby, providing facility services such as printers, stationery, wayfinding, and coffee-tea points.

At its most active, the ShangHub features an expansive Café, itself with numerous typologies of seating, postures and settings for casual recreation and refreshment, a pantry stocked with healthy snacks, a coffee bar complete with professional barista, as well as typologies for individual working, group meetings and ideation sessions. The Café's bleacher podium, punctuated by numerous round soft pads, evocative of the dots on LEGO bricks, regularly hosts Town Hall meetings and other knowledge sharing events. Nature is present in real form through large planters which function as spatial dividers and provide bio-phylic benefits to the environment, and is graphically represented on glass installations.

The LEGO Mini-figures as macro-graphics create a bold presence throughout the space. LEGO brick spheres and cuboids hang, in cloud-like clusters, emphasizing the products' materiality and design, while appearing as contemporary reinterpretations of Chinese lanterns. A white Chinese pavilion, flanked by a bamboo canopied path leading to a hidden corner for playing Chinese chess, enjoying the Shanghai skyline or cultivating inspiration for a new project to inspire the next generation of builders, is located near the entrance to the LEGO ShangHub Board Room, all subtly referencing traditional Chinese design, inspiring creativity and engagement and reinforcing the LEGO visual identity.

Around the office are design walls featuring LEGO creations created specifically for the space by staff and by local children who are invited to create LEGO murals, fostering local community engagement. Engagement through design and design through engagement remain the principles animating of the new LEGO ShangHub.

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Sidewalk Labs Announces Plans to Create Model Smart City on Toronto's Waterfront

Posted: 17 Oct 2017 10:01 AM PDT

Eastern Waterfront as it looks today. Image Courtesy of Sidewalk Labs

Sidewalk Labs and Waterfront Toronto have revealed plans for a brand new community on Toronto's Eastern Waterfront that will bring together "forward-thinking urban design and new digital technology to create people-centred neighbourhoods that achieve precedent-setting levels of sustainability, affordability, mobility, and economic opportunity."

Public Realm Vision. Image Courtesy of Sidewalk Labs

A subsidiary of Alphabet (Google's parent company), Sidewalk Labs was chosen following an international Request for Proposals (RFP) issued in March of this year. The company now will work together with the city to develop plans for an 800-acre publicly-owned area of land called the Port Lands, one of North America's largest undeveloped tracts of urban land. An investment of $1.25 billion CAD has already been allocated for the construction of infrastructure and flood protection necessarily to revitalize the area.

Eastern Waterfront Map. Image Courtesy of Sidewalk Labs

Digital Infrastructure Vision. Image Courtesy of Sidewalk Labs

The district is envisioned as an entire mixed-use community for tens of thousands of people centered around advanced technology such as climate-positive energy systems, self-driving transit and economically and environmentally efficient construction methods. New entertainment districts, parks and newly accessible waterfront beaches will welcome all Toronto residents to enjoy the neighborhood.

The neighborhood design will continue to be massaged over the next year with extra attention placed on community input. The process will begin next month with a town hall meeting on November 1st. To jumpstart the development, Alphabet has already announced plans to bring Google's Canadian headquarters to the Eastern Waterfront.

"Successful cities around the world are wrestling with the same challenges of growth, from rising costs of living that price out the middle class, to congestion and ever-longer commutes, to the challenges of climate change," said Dan Doctoroff, CEO of Sidewalk Labs and former Deputy Mayor of New York City. "Sidewalk Labs scoured the globe for the perfect place to create a district focused on solutions to these pressing challenges, and we found it on Toronto's Eastern Waterfront—along with the perfect public-sector partner, Waterfront Toronto."

"This will not be a place where we deploy technology for its own sake, but rather one where we use emerging digital tools and the latest in urban design to solve big urban challenges in ways that we hope will inspire cities around the world,"

Learn more about the plans here.

News via Sidewalk Labs

Mixed-Use Vision. Image Courtesy of Sidewalk Labs

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Ruyton Girls' School - Junior School Campus / DP Toscano Architects + Sally Draper Architects

Posted: 17 Oct 2017 10:00 AM PDT

Architects: Sally Draper Architects, DP Toscano Architects
Location: Melbourne VIC, Australia
Project Year: 2017
Photographs: Trevor Mein

Interior Designer: Haussegger Interiors
Landscape Architect: TCL

From the architect. The redevelopment of the Junior School campus at Ruyton Girls' School into a powerful three-level learning hub is the latest in a series of dynamic school projects by Melbourne practice Sally Draper Architects in association with DP Toscano Architects.

The firm specialises in tailoring designs to embody the culture of each client, and this has resulted in awards for excellence and environmental sustainability. In Ruyton's case, the challenge was to integrate two dark and disparate buildings from different eras into a light, warm unified space where a love of learning, curiosity and creativity could be fostered and embraced.

Students at Ruyton, in Melbourne's inner-east suburb of Kew, are encouraged to dream big and take bold action to fulfil their potential, both academically and with civic and environmental engagement and global citizenship. Within this framework and a tight budget, SDA's job was to translate the philosophy into a building for Prep to Year 6 that would facilitate the students to excel happily in an enquiry-based and project-based environment.

For SDA, this meant the emphasis had to be on the education process first, augmented by architecture that would be elegant and understated rather than making a loud statement.

While the reimagined junior school was officially opened on May 24 2017, the students – who moved into the new learning space at the beginning of Term 1 – have firm impressions:

"I like that its more communal, with lots of open space and you get to know the whole year level, not just your own class" Lauren – grade 6

"The studios are bright and pretty and it makes me happy to learn in such a lovely room" Rui - grade 2

"I love that there are no doors to get to the other class. It's also calm and relaxing" Francesca - grade 2

"I like that the rooms have lots of windows, giving us beautiful views of the gardens outside," Sophie Year 3.

Sally Draper, and the practice's associate director Shahab Kasmai, workshopped the project extensively with the Ruyton Principal, Linda Douglas, Head of Junior School, Nicole Ginnane, and the school's Business Manager Leanne Smith. The consensus was a spate of elements that would inject life into grim old buildings: light, sunshine, fresh air, a seamless flow from indoors to out; agile, adaptable and flexible learning spaces; a sense of ownership, wellbeing and comfort as part of smaller groups and class levels as well as the bigger school community. It was also important to SDA that the girls felt a sense of being in a home-like environment – a safe and carefree place to encourage adventure and educational challenges.

"The whole idea of school as home rather than an institution is something we're very interested in, particularly for young students," Draper says. "We have a gorgeous climate that means we live both inside and outside. But this philosophy has rarely been translated to schools and there's no reason why it shouldn't be."

The existing buildings comprised a 1960s structure and the Carolyn Anderson building, an adjacent three-level BER structure built in 2011. The only connection was a glass-walled walkway on the top level. This lack of cohesion meant that students and teachers had the inconvenience of leaving one building to reach the other and had significant difficulty in creating a sense of collegiality within the school. The problem was solved by constructing a new linear component connecting the two buildings. This strategy, together with the removal of an intermediate floor to create a double height space resulted in a unified new campus.

The heart of the junior school is now a vast, covered central hub that soars seven metres high and, in doing so, provides a light-filled visual link for the entire campus. It acts as an assembly hall and doubles as a function room and physical education space, among numerous varied uses. A baby grand piano in one corner beckons music classes and performances while a large flat-screen monitor on a far wall is an all-important nod to 21st-century technology. The highlight is a glass wall that rises the full height of the space on the west side. It opens to, and overlooks, an inviting paved courtyard where timber seating encircles a towering blue spruce, just one of many prized specimens in gloriously leafy surrounds. On the east side, students spill out to a partially covered precinct that is part adventure playground /part outdoor classroom. Secret nooks and walkways encourage exploration and pathways lead onto to play equipment designed specifically for the younger girls

Colour hues indoor and out reflect the soft tones of the wider school materials palette. This extends to brick paving and sandstone-coloured exterior walls juxtaposed against natural timbers including oiled sunscreens on classroom balconies and windows. Classroom design, too, builds on the school philosophy of calm spaces that encourage group and independent learning, contemplation and experimentation.

With the younger students on the ground level, the school is divided into a series of zones – one for each year level. Tiny, dark classrooms have been opened up to create year-level learning studios, each enclosed on three sides and opening to a communal year-level space.

There's plenty of dedicated messy areas for the little ones and breakout spaces for independent tasks or projects in small groups while a central component common to all year levels is a gathering space colour coded to the class level. Here, voluminous fabric curtains close for private meetings or mini-performances to audiences arranged on stepped seating.

The level of sophistication heightens as the classes rise in rank, exemplified by a meeting room with conference table for important Year 6 decision-making.

Today, as you visit Ruyton at 3.30pm pick-up time, girls, parents and teachers are milling, chatting and playing around the vast central hub that is their new home away from home. There is light and warmth, both in mood and surrounds. Sally Draper Architects has given Ruyton – one of Melbourne's oldest and most respected independent schools – a new campus that is solid and lasting with an eye to a triumphant future.

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Dos de Maig Apartment / AMOO

Posted: 17 Oct 2017 08:00 AM PDT

Architects: AMOO
Location: Barcelona, Spain
Archictects In Charge: Aureli Mora, Omar Ornaque
Area: 37.0 m2
Project Year: 2017
Photographs: Filippo Poli

From the architect. 37m³ flat under the pretext 'maiden dwelling'. It could be for a couple with no children, but this is the order.

Located in the quiet Dos de Maig Passage besides the old Hospital de la Santa Creu i de Sant Pau, this block built in 1930 consists of two houses almost symmetrical per floor. The floor plan of the project, despite its small size, has two facades (NE-NO) and a little interior patio. We found a flat with 3 bedrooms, a living room, a kitchen, a sink and a hall.

Working with the preexistence and requirements of the client, the false ceiling of wooden beam and ceramic vault is discovered, restoring it. We also level the forging of the pavement. Taking advantage of this operation, the tiles of hydraulic pavement are replaced, making small modifications of the existing combinations. Marble pieces fill the holes made by the demolition of the original partitions.

Of these partitions only one is preserved. This is the one that separates the bedroom from the rest, and around which is built the piece of furniture that integrates kitchen, dining room and living room. Shelves, cupboards and others are articulated around.

The patio totally absorbs the services (kitchen, toilet), which are expanded to make them compatible with contemporary uses and demands. Kitchen, toilet and bedroom are under the false ceiling line, while the continuous space of the hall, dining room and living room have the height of the beam filling.

Simple solutions as large sliding doors and mirrors have been used, optimal in these cases of reduced spaces.

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MVRDV Create Park-Topped Community Center for Shanghai Neighborhood

Posted: 17 Oct 2017 07:10 AM PDT

MVRDV, in collaboration with ISA Architecture, has revealed the designed of the Zhangjiang Future Park, a park and community center for the workers and residents of Zhangjiang Hi-Tech Park in Pudong, Shanghai, China. Fully integrated into a rolling park landscape will be a library, an art centre, a performance centre and a sport center – four civic programs that are currently lacking in the neighborhood.

Zhangjiang Hi-Tech Park was established in 1992 as a complex for companies operating within the fields of tech and innovation. Twenty years later, and the neighborhood has become a center of both business and life, with more than 4,000 companies employees 100,000 workers whose families live largely nearby.

Never planned, however, were public facilities for gathering and recreation – a scenario MVRDV's Future Park sets out to correct. Located on an island at the crossroads of two waterways and valuable green spaces, the masterplan aims to create a new destination that brings nature, culture and entertainment into one comprehensive landscape.

The project is envisioned as a combination of a relaxing, park-like atmosphere and the cultural excitement of a city center. The two conditions are separated through vertical layering, with park lawns above and urban plazas beneath. Buildings nestled into the landscape act as the knuckle between the two settings, providing the space for cultural and recreational activities while housing additional park space on their roofs. Paths on both levels allow for ease of circulation between program elements.

"The building volumes gently blend into the landscape and provide the park with activities," explain MVRDV. "Multiple access points converge towards the main central square, providing each a different perception of the site. The design proposal forms an intriguing silhouette, a recognizable collection of buildings that emerge from the park: a crack in the landscape that produces urban life. People are able to walk not just around the buildings, but even on top of them, therefore experiencing radically different perspectives of the site."

"The green roofs programme is as lively and diverse as the park programme and strongly integrated with the buildings' functions."

The 10,000-square-meter library will offer a variety of social and reading spaces arranged around a central atrium, envisioned as an extension of the central plaza. Across the plaza, the art center will offer 5,000 square meters of natural-light-flooded exhibition space.

Next door, the 10,000 square meter performance center will house two theaters: a larger 700-seat auditorium for plays and concerts, and a 300-seat theater for smaller events. Other areas will include spaces for music, lecture halls, dining facilities and lounges.

The final main element is the sports center, which will offer 10,000 square meters of sports facilities including an olympic-sized swimming pool and large glass-walled sports hall. Courts and fields will continue out into the park and onto the rooftop.

The project is slated for completion in early 2019.

News via MVRDV.

Architects: MVRDV, ISA Architecture
Location: Pudong, Shanghai, China
Design: MVRDV - Winy Maas, Jacob van Rijs and Nathalie de Vries
Design Team: Nathalie de Vries, Wenchian Shi, Marta Pozo Gil with Marco Gazzola, Lorenzo Mattozzi, Enrico Pintabona, Chiara Girolami, Shengjie Zhan, Cai Zheli, Cosimo Scotucci, Wenzhao Jia, Emma Rubeillon, Chi Zhang, Ray Zhu, Chi Li
Visualization: Antonio Luca Coco, Paolo Mossa Idra, Costanza Cuccato, Davide Calabrò, Pavlos Ventouris and Tomaso Maschietti
Co Architect: ISA Architecture
Landscape Architect: Openfabric
Designers: Francesco Garofalo, Jacopo Gennari Feslikenian and Maria Teresa Pinna
Client: Zhangjiang Group Co. Ltd.
Area: 56000.0 m2
Photographs: MVRDV

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Malmo Building / Taller David Dana

Posted: 17 Oct 2017 06:00 AM PDT

Architects: Taller David Dana
Location: Ciudad de México, Mexico
Architect In Charge: David Dana
Area: 1890 m2
Project Year: 2017
Photographs: Onnis Luque

From the architect. Malmo was developed in a compact site of 269m2 in one of the zones of greater seismic danger of the city. That catalyzed multiple challenges and opportunities that concluded in the following results: The building is displaced with a parking on the ground floor and 14 departments subdivided into 7 levels.

Its main characteristics are the structural simplicity and the dynamism of its facades according to certain manipulations in angles and slab rotations.

The layout presents 2 apartments in each level that are almost identical. The sixth and seventh levels experience a lateral displacement that gives rise to the integration of a large terrace adjacent to the loft apartment located in the penthouse.

Located in the heart of Mexico City, Malmo intends to offer its users a contemporary atmosphere creating contrast between existing buildings. The intention for the interiors of this project was to deliver a sober and harmonic space that had the ability to develop any activity day by day.

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Interactive Spy Museum Designed by Adjaye Associates to Open in New York City

Posted: 17 Oct 2017 05:10 AM PDT

Adjaye Associates has unveiled designs for SPYSCAPE, a new museum and interactive experience that illuminates the world of espionage from historical secret intelligence to modern day hacking through a collection of rare artifacts, exhilarating storytelling and immersive personalized experiences.

Located a stone's throw from Times Square in New York City, the 60,000-square-foot space will use architecture as a key element of the museum experience. Inspired by the spaces occupied by the world's most significant spy organizations, the building interiors will resemble a small town, with a variety of spaces unfolding beneath a vaulted canopy. Circulation will lead visitors through a wide range of vantage points and perspectives, playing with perceptions and drawing you into the individual pavilions.

Varied strategies of lighting, materiality and transparency will reinforce this atmosphere, fostering a sense of discovery and observation – with smoked glass, fiber cement, dark grey acoustic paneling, and both mirror-polished and weathered steel making up the primary material pallette of the interior. This sense of wonder is translated even down into the smallest details, just as the bespoke display cases and large digital lighting canopy.

"It has been exciting to work with a client as truly innovative as SPYSCAPE," said Lucy Tilley, Associate Director for Adjaye Associates. "Thanks to their forward-thinking vision, we have been able to challenge the traditional museum typology with a design that creates a new model of visitor experience which straddles the physical and digital worlds. SPYSCAPE will be an utterly unique cultural destination for New York City."

Other program elements designed for the museum include a cafe, private event halls, temporary exhibition space and a spy book shop containing more than 1,000 rare and antique spy books.

Playing the dual role of architect and exhibition designer, Adjaye Associates worked closely with the SPYSCAPE team and in collaboration with former members of hacking collectives and directors of intelligence agencies. The museum is set to open in December 2017. Tickets are on sale now, here.

News via Adjaye Associates.

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House in La Comarca / Anibal Bizzotto + Diego Cherbenco

Posted: 17 Oct 2017 04:00 AM PDT

Architects: Diego Cherbenco, Anibal Bizzotto
Location: Tigre, Argentina
Area: 210.0 m2
Project Year: 2017
Photographs: Albano García

From the architect. We were commissioned with planning and constructing a house for a single family in a growing gated community located in Tigre area on the Buenos Aires suburbs. This will be the client's - a young couple and their toddler - first owned house. In our first visits to the grounds, we decided to take on the challenge of projecting the building with a distinct use of the terrain. It is common in this type of communities to use the withdrawn areas of the plot as virtual limits between neighbouring houses for which square footprints will tend to be the guiding shape of the different floors on houses, producing compact shapes with big spaces on the sides. We focused on setting our house apart from these direction.

Our project incorporates the use of open space on everyday life needs through out the seasons, by placing big openings and entrances that establish visual continuity and provide optimal ventilation (circulation?). Few and concise morphological operations guide the main shape of the house: Two big side planes of concrete provide depth towards the front and bottom of the plot, and privacy from an to neighbouring houses; And the forward projection of the main suite in the upper floor on the facade, over the entrance, establishes visual continuity.

Material and structure are thought out as one, and the use of concrete as vertical boards presents the house with a distinct visual identity. This also allowed for the construction of compact volumes and support walls that allows for common spaces with heights bigger than 6 meters without additional structure support. Concrete requires little maintenance and with the pass of time the house will gain an iconic status in it's visuals. Similar features on the ground floor for which the use of Travertine stone carries on the visual and material continuity.

Service and common use space is effectively differentiated, for which a big central space produces an optimal relation between inside and outside space, through a cubical shaped patio that presents as part of the building without accounting as built ground. The result is a bigger look for a smaller building.The walls separated by 8.5 meters become structural elements that support the floors across, with vacuum spaces to the bottom and front of the house which allow the pass of light and air and accompany the position of the patio and the living room that mimics the open space outside. There a tree is in place, envision as an a centrepiece providing shade and shelter in warm seasons and thought as an icon in family events and memories to come.

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Interview with Javier Sanchez: “Where are the Projects? Let’s Find Them!”

Posted: 17 Oct 2017 02:30 AM PDT

The 22, Lima, Peru, 2010. Image © Eduardo Hirose

In the decade since the start of the financial crisis, there has been an explosion in the number of architectural practices that have pursued unusual and ingenious business models—among the most popular of which is the concept of the developer-architect, who serves as their own client. With his architecture firm and development company JSa, Javier Sanchez has been proving this concept since long before the financial crisis hit. In the latest interview of his City of Ideas series—and the third of his interviews with Mexican architects after Enrique Norten, Alberto Kalach and Mauricio Rocha and Gabriela Carrillo—Vladimir Belogolovsky speaks to Sanchez about the benefits of working as one's own client and how JSa leverages its business model to improve the city.

Vladimir Belogolovsky: You are often described as a developer first and an architect second. Is that accurate? How do you see yourself?

Javier Sanchez: Well, I started as a developer and I became an architect as a consequence. In fact, in the beginning, I only worked as a developer. Now about three-quarters of our projects are for other clients and only a quarter we develop ourselves. I think of development as a tool that enables me to do my architecture. This is what I learned directly from my father's partner who, apart from heading their architecture studio, worked on small-scale development projects on his own, in partnership with investors. He was both an architect and client, which was intriguing to me. In a way, it was almost like being an artist, since artists don't usually have clients. I like the idea that an architect can face himself and the project directly without having a client.

Of course, there is a challenge in producing a project that would be satisfactory to a potential buyer. Therefore, instead of relying on a client or design competition as a source for commissions I must keep an eye on the city, to look for opportunities in which architecture could happen. It is the joint effort of investor, builder, and architect that defines my work within the city. This way I can choose the kind of work I want to do and it is up to me to decide how many projects I want to work on at any given time. My architecture depends on my capacity to understand the dynamics of the city. In a way, I can influence the way my city develops. Still, our own development company is small and I don't want to make it any bigger because I don't want to lose control. I want to know my stakeholders and I don't want them to take over my projects.

Carlota Hotel, Mexico City, Mexico, 2015. Image © Camila Cossío

VB: Do you think, working both as a developer and architect, you enjoy more freedom than other architects?

JS: I've been working both as a developer and architect on some projects, and only as an architect on others, so I know the difference. Sure, being both developer and architect allows you to have total liberty, but at the same time, there are many restrictions. Still, as a developer I can choose to prioritize some of those restrictions and focus on particular objectives that I have as an architect. On the other hand, when I work as an architect only, I am able to discuss issues with my developers from the position of someone who understands development first-hand. Therefore, those collaborations are typically very effective.

It is an entirely different situation when you work as an architect for a museum board or hotel owner. It is always a challenge in those cases to maintain the project's integrity. Of course, we would all like to do our projects in our own way, but at the same time it is this struggle and tension between the architect and client that often leads to a very creative solution. There are different relationships and opportunities. That's why I like playing different roles.

Spanish Cultural Center, Mexico City, Mexico, 2012. Image © Rafael Gamo

VB: In a way, it is participating in design competitions that lets you be absolutely free. And occasionally, architects enter competitions not to win but to be able to do a project without compromise. Such projects may lead to new discoveries and they even may bring potential fame and clients precisely because of those new ideas that are expressed in them.

JS: Everything depends on the reality of each project. If your desires as an architect and the competition's objectives are aligned, you obviously want to win. But you are right, there are situations when we enter competitions not because we want to win but because we believe in the idea itself and we want to include it in our portfolio. We have done it and every time we believed that we could win, even though we obviously disregarded certain required conditions. A project is always a provocation but at the same time, it is beautiful when it touches reality. I believe in building; I believe in architecture as a built form.

Amsterdam Tower, Mexico City, Mexico, 2012. Image Courtesy of JSa

VB: I like how your work is described in your recent book. It says that "you have a striking concern for building a city." And that "you have a determination for building a city beyond the confines of the project." Could you elaborate?

JS: We are trying to create new readings of the city. We know that cities are mainly made up of housing. It is the main ingredient. Yet, housing is private and you can't really open it to the city. So within the boundaries of our own l projects I have been trying to create small urban systems that are more open than typical projects. I like those opportunities in which different properties share each others' spaces or when you can go through the middle of the block – to enter one project and come out of the other. Today this is possible only if I initiate these ideas as a private developer. I like that and for that reason I often pick projects not just in the same neighborhood, but that are right next to each other. That way we had many opportunities for those urban experiments in which we were able to open up neighborhoods.

The city is not just about walking along pretty facades; we want people to go in and through, and explore the city from within to make it a more open, porous, shared, and ultimately safe experience. So much of Mexico City is about exclusion, fear, and barriers; those who have money are afraid and live behind very tall, secure fences. That is not the city I like. And I think that kind of city is unsafe. I think people need to understand that the more we open the ground floor to diverse functions to complement housing, the more interesting and safe it will become both for pedestrians and residents. The most democratic space we have is the sidewalk; we need to free up the ground floor and ultimately the city.

VB: Your father is an architect and your grandfather was an architect; was it inevitable that you would become an architect as well?

JS: I struggled with it. I wanted to do something that would be good for society. Early on, I wanted to work on inequality and hunger issues. At the same time, I had been working on architectural projects with my father for as long as I could remember and I really liked that. Still, there was a heavy legacy... I didn't just want to be another architect in the family. [Laughs.] So right after school I decided to go abroad for a couple of years – to the US for one year and to Europe for the second year – to explore different ideas. I took all kinds of jobs just to survive. It was during those years of travels that I realized that what I really wanted to do was architecture.

My father has a traditional architectural practice. For a number of years he worked mainly for the government. That doesn't really exist now. Today Mexican architects are mainly working for private clients. And because I didn't want to go through the kind of suffering that he went through when he was looking for clients, I decided that I would be both architect and developer.

VB: But how did you come to the realization that it was architecture that you wanted to do? What did you discover in your travels that you did not see here in Mexico City?

JS: I liked order, safety...

VB: You wanted to turn Mexico City into the kind of city that you encountered in your travels.

JS: Exactly. And we already have an amazing city here. Look at our historic center and all the cultural sites! But most people no longer live in the city's core. Still, in the last generation there is an interest in coming back to the city, so we are, in a way, rebuilding what we once had – the kind of city where you work, live, play, walk, shop, and so on. Mexico City is again becoming the kind of city that I saw in Europe. But I remember the time when most of my friends lived outside of the city in gated communities. I wanted to turn that situation around.

Hotel Condesa, Mexico City, Mexico, 2005. Image © Luis Gordoa

VB: Would you say that being both developer and architect is now typical for your generation of architects?

JS: It has become so in recent years, for sure. But even going back to Luis Barragán – as you know, he did some of his projects as a developer. So there was already this model in place that was abandoned and now it is a lot more common. Sure, architects don't tend to be comfortable with being developers and in the beginning, I was a bit embarrassed, until I realized that it was my strength. Now I think the thought that architects can't be developers is no longer valid because we proved that this model works.

Carlota Hotel, Mexico City, Mexico, 2015. Image © Rafael Gamo

VB: In one of your interviews, you said that architecture is a service. Do you really think so?

JS: Yes, I do think so. I don't think architects should strive to be artists. We have to create spaces that work. We are like doctors; we need to be responsible and address people's needs. We are ethically responsible. I am against the idea of building a building for the sake of its beauty or ideas only. Architecture must be necessary. Architecture that is not primarily a service is just a dream.

VB: You don't think that architecture should at least strive to be art?

JS: I think it should strive to be art. And that is what makes architecture different from just another building. But I think that the focus should be on addressing real needs first. If the needs are satisfied and a building provides something extra, then it becomes more than just a building. Then it may be called architecture. Perhaps it should take time before a building can be recognized as architecture.

VB: What single words would you choose to describe the kind of architecture that you want to realize?

JS: Emotional.

VB: Emotional... But before you talked about architecture being a service...

JS: Well, if an architect provides the client with beautiful sunlight in their house, then sure, that kind of architecture can be very emotional.

VB: Wouldn't you say that beautiful sunlight is beyond just service?

JS: I don't think so. Providing beautiful sunlight is part of the service. And to me, architecture is something that goes beyond a particular building. In my Soriano Museum in Cuernavaca, there is as much focus on the garden as on the building. Because the building is my job and the garden is that extra that makes the total project special. I am always interested in that extra that makes a building architecture.

VB: You teach here and in the US. Do you have a particular way of teaching architecture?

JS: I teach based on real-life experience and I use many of my own projects as examples. I also take my students to urban spaces and I tell them – let's change the space, what should we do? Where are the projects? Let's find them! We typically discuss Mexico City as the main case study.

VB: Why do you teach? What do you gain from that? I can only imagine how much valuable time you lose as a developer.

JS: Teaching for me is an investigation. Projects and ideas that I would like to do in real life I often first test with my students. I also share my experience with the students, which is important to me. And some of my students now work here with me.

VB: Is it important to you to align yourself with other architects? Do you want to fit in or would you rather stand out?

JS: It doesn't really worry me. I like anonymity.

VLADIMIR BELOGOLOVSKY is the founder of the New York-based non-profit Curatorial Project. Trained as an architect at Cooper Union in New York, he has written five books, including Conversations with Architects in the Age of Celebrity (DOM, 2015), Harry Seidler: LIFEWORK (Rizzoli, 2014), and Soviet Modernism: 1955-1985 (TATLIN, 2010). Among his numerous exhibitions: Anthony Ames: Object-Type Landscapes at Casa Curutchet, La Plata, Argentina (2015); Colombia: Transformed (American Tour, 2013-15); Harry Seidler: Painting Toward Architecture (world tour since 2012); and Chess Game for Russian Pavilion at the 11th Venice Architecture Biennale (2008). Belogolovsky is the American correspondent for Berlin-based architectural journal SPEECH and he has lectured at universities and museums in more than 20 countries.

Belogolovsky's column, City of Ideas, introduces ArchDaily's readers to his latest and ongoing conversations with the most innovative architects from around the world. These intimate discussions are a part of the curator's upcoming exhibition with the same title which premiered at the University of Sydney in June 2016. The City of Ideas exhibition will travel to venues around the world to explore ever-evolving content and design.

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PANEUM Center / Coop Himmelb(l)au

Posted: 17 Oct 2017 02:00 AM PDT

Architects: Coop Himmelb(l)au
Location: Asten, Austria
Design Principal: Wolf D. Prix
Project Team: Albara Arab, Martina Bighignoli, Daniel Bolojan, Donna Riedel, Benjamin Schmidt, Damian Witt, Denitsa Parleva, Risa Kagami
Area: 1850.0 m2
Project Year: 2017
Photographs: Markus Pillhofer

Planning: COOP HIMMELB(L)AU – Wolf D. Prix & Partner ZT GmbH
Project Lead: Friedrich Hähle, Günther Weber (until 2015)
Project And Design Architect: Stephan Sobl
Design Partner: Karolin Schmidbaur
Client: backaldrin Österreich The Kornspitz Company GmbH
Model Building: Win Man, Nam La Chi

From the architect. The Customer Information Centre and Event Forum PANEUM – Wunderkammer des Brotes - for the company Backaldrin in Asten consists of two elements: a box-shaped plinth building with foyer and event rooms plus the "Wunderkammer des Brotes", a two-story freeform exhibition area floating on top. The chosen materials augment the contrast of these two elements: The square base building shows a cast-in-place concrete façade while the rounded wood structure of the museum is clad with stainless steel shingles.

The base building houses the event rooms and the adjoining rooms. This area can be used for a variety of events as presentations, receptions or workshops for up to 120 visitors. The design of the exhibition area is based on the idea of a cabinet of curiosities, a concept for collections originating in the Baroque period. This concept is especially appropriate for the unusual and small-scale objects in the collection related to the topic "bread" which is presented in the exhibition area.

The center of the "Wunderkammer des Brotes" is formed by a circular atrium, in which selected items from the collection are individually suspended from the top, as in a differentiated crystal chandelier. The atrium is enclosed by a spiral stair where visitors can look at the exhibited items from various perspectives. The stair provides access to the two exhibition levels, where the objects are presented with the help of walls, tables, and cabinets that are integrated into the architecture. Additionally, all floors can be accessed by elevators. The atrium is naturally illuminated from above while the exhibition spaces have artificial light.

The self-supporting wood shell of the exhibition structure is visible in the interior. It is composed of layered circles of cross-laminated timber. This method of construction enables the realization of the free form. The high degree of prefabrication with 3D CNC technology (Computerized Numerical Control) leads to a short building time. Leaving the precisely shaped wood timber exposed on the interior, with just a layer of paint, made additional interior finishes unnecessary.

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Using LEGO to Save Crumbling Cities and Buildings

Posted: 17 Oct 2017 01:00 AM PDT

After 10 years of exploring the world and making LEGO interventions to city walls and masonry in disrepair, artist Jan Vormann invites you to contribute to the ongoing project Dispatchwork. Vormann began making these toy-block repairs in Bocchignano, Italy, and since has made colorful additions to Tel Aviv and Berlin.

Jan Vormann has visited nearly 40 cities across Europe, Central America, Asia, and the United States. Some of the installations use a handful of toy bricks while some have used up to 20 pounds.

Tel Aviv 2008 #dispatchwork #repairing #artinpublicspaces #streetart

A post shared by dispatchwork (@dispatchwork) on Feb 11, 2017 at 12:15pm PST

Swab Barcelona 2010 #dispatchwork #swab #barcelona #streetart @swabartfair

A post shared by dispatchwork (@dispatchwork) on Feb 11, 2017 at 12:06pm PST

Some have perceived the patchwork as a plea for a more permanent repair, Vormann explains in response to having his colorful bricks replaced with real brick and mortar within days of the intervention.

Dispatchwork Caracas done by @incursionesve #caracas #streetart #artinpublicspaces #dispatchwork

A post shared by dispatchwork (@dispatchwork) on Feb 13, 2017 at 1:12pm PST

Jan Vormann describes Dispatchwork as a way to take back public spaces, making their mark in a playful way. Many have taken it upon themselves as artists and children-at-heart to contribute to Dispatchwork, aligning with the playful and lofty mission of the work.

Ganz Novi Festival 2015 #dispatchwork #zagreb #croatia #instaart #streetart #artinpublic @streetartglobe

A post shared by dispatchwork (@dispatchwork) on Feb 11, 2017 at 12:05pm PST

"Dispatchwork aims at childhood-memories in abstract shapes and vivid colors, towards a global collaboration of persons unknown to each other. This project is made for all those who identify as one of the others and embrace transitoriness. Persons who like to share their time playfully and don't mind when the unglued structures slowly 'dissolve' (friendly to our environment) back into kids toyboxes" is a selection from the mission statement that calls to action.

Dispatchwork Inside #dispatchwork #exhibition #bamberg @bamberg_de @bamberglieben #streetart #inside

A post shared by dispatchwork (@dispatchwork) on Apr 11, 2017 at 11:28am PDT

"While overcoming national borders, this is a Forum to further develop, piece by piece, a global game together. A handful used bricks of whichever brand is plenty, and enough to submit a contribution. Because nobody enjoys living in dull cities and not only kids can imagine the world more colorful!" So, grab the handful of bricks you have leftover from your most recent masterpiece, take to the streets and contribute your own patch to Dispatchwork.

Aarhus 2010 Gadekunstdag #dispatchwork #streetart #artinpublicspaces #art #gadekunst

A post shared by dispatchwork (@dispatchwork) on Feb 11, 2017 at 12:28pm PST

Imaginez Maintenant / Toulouse 2010 #dispatchwork #france #streetart @streetartglobe

A post shared by dispatchwork (@dispatchwork) on Feb 11, 2017 at 11:27am PST

Very Fun Parc / Taipei 2012 #taiwan #dispatchwork

A post shared by dispatchwork (@dispatchwork) on Feb 11, 2017 at 11:24am PST

W 12th street - New York City 2015 #dispatchwork

A post shared by jan vormann (@janvormann) on Feb 4, 2017 at 6:02am PST

Kunstsommer Arnsberg 2009 #dispatchwork #Arnsberg #lego

A post shared by dispatchwork (@dispatchwork) on Feb 11, 2017 at 11:31am PST

Revamped Website now online: www.dispatchwork.info - after extensive cyberwalks on streetview through every city, street by street, wall by wall, to locate all the patches. Thanks @steffenklaue for the coding! #dispatchwork #oneworld

A post shared by jan vormann (@janvormann) on Aug 8, 2016 at 8:30am PDT

News via: Dispatchwork.

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Architecture Costumes For Halloween, Carnival and Office Parties

Posted: 17 Oct 2017 12:30 AM PDT

When it's time to dress up for Halloween, Carnival or theme parties, people often choose costumes that resonate with their interests. This is especially true for architects, who are particularly well-suited to designing and building head-turning outfits. For students and young architects, the yearning to construct (and destruct) stems from the will to create elaborate headpieces and ingenious appendages.

We recently polled ArchDaily readers from across the world, asking them to share their architecture-themed costumes with us. Want to submit yours? We'll be updating this post so send us your photo on Facebook or via the comments below!

Rivergate Tower in Tampa by Patrick Thorpe

OCAD University's Sharp Centre for Design - Will Alsop by Rob Shostak

Tracing Paper with Sketches by Luana Rôla

Leaning Tower of Pisa by Ashley Bell Davis

Empire State Building and King Kong - by Daniel Kidd and Bjarke Ingels

Cleveland's Marcel Breuer Building by Jonathan Kurtz

"Low Cost Guggenheim Bilbao" by Rod Neto

Still have a costume to submit? Share a photo in the comments section below or send us a Facebook message!

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Spotlight: Alejandro Zaera-Polo

Posted: 16 Oct 2017 11:00 PM PDT

Yokohama International Passenger Terminal. Image © Satoru Mishima / FOA

Alejandro Zaera-Polo (born October 17th 1963) is an internationally recognized architect and scholar, and founder of London, Zurich, and Princeton-based firm Alejandro Zaera-Polo & Maider Llaguno Architecture (AZPML). First rising to prominence in the 1980s with his writings for publications such as El Croquis, Zaera-Polo has had a prolific career in both the academic and professional realms of architecture.

© Princeton University, Office of Communications, John Jameson (2012)

Born in Madrid in 1963, he studied at the Escuela Técnica Superior de Arquitectura de Madrid and received his master's degree in architecture at Harvard University's Graduate School of Design. Prior to establishing Foreign Office Architects in 1993 as a founding partner, Zaera-Polo worked at the Office for Metropolitan Architecture (OMA) in Rotterdam beginning in 1991. He went on to establish his own firm Alejandro Zaera-Polo Architecture in June 2011, which was renamed Zaera-Polo & Maider Llaguno Architecture (AZPML) in August 2013 when former FOA architect Maider Llaguno joined as a partner.

Carabanchel Housing. Image © Francisco Andeyro Garcia & Alejandro Garcia Gonzalez

His most notable projects include the Yokohama International Cruise Terminal in Japan, the Ravensbourne College of Design and Communication in the United Kingdom, the Carabanchel social housing project in Madrid, the Meydan retail complex and multiplex in Istanbul, the Spanish Pavilion at the 2005 International Expo in Japan, and the Dulnyouk Publishing headquarters in South Korea. He has also received numerous honors for his work, including the Enric Miralles Prize for Architecture, five RIBA awards from the Royal Institute of British Architects, an award from the Venice Architecture Biennale, and the Charles Jencks Award for Architecture.

Meydan – Umraniye Retail Complex & Multiplex. Image Courtesy of Foreign Office Architects

Zaera-Polo has also made notable contributions to the academic sphere. He is the former dean of the School of Architecture at Princeton University and has also served as the dean of the Berlage Institute in Rotterdam. He currently occupies the Berlage Chair at the Delft University of Technology in the Netherlands and the Norman R. Foster Visiting Professorship of Architectural Design at Yale University.

Birmingham New Street Station. Image © Javier Callejas

Check out some of Zaera-Polo's work previously published on ArchDaily through the images below:

Architecture's "Political Compass": A Taxonomy of Emerging Architecture in One Diagram

Alejandro Zaera-Polo is Suing Princeton. Here's Why That Matters for Architecture.

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Veoveo House / MLMR Arquitectos

Posted: 16 Oct 2017 10:00 PM PDT

Architects: MLMR Arquitectos
Location: Artica, Spain
Architects In Charge: Víctor Larripa, Javier Martín, Daniel Ruiz de Gordejuela, Javier Martínez
Area: 35.0 m2
Project Year: 2017
Photographs: Pablo García Esparza

Other Participants: Daniel González

From the architect. In some cases, the greatest value of a house is its relationship with the immediate exterior; its views to a garden full of vegetation. Such is the case of the Veoveo House; a small extension of a large single family house built in the eighties.

The Veoveo House is, then, a stone box that stands on an old terrace and is drilled in two very specific points: the first point is a big eye on the main front, which stares out over the garden, always so green and so cared for by the owners. The second, on the other hand, is a horizontal crevasse, a ribbon window, oriented towards the north and that allows the views towards the top of mount San Cristóbal. Thus, this extension puts in value, even emphasizes, a so pleasant environment that already surrounded the pre-existing single-family home.

With its more contemporary and strong forms, and with its stone look, it contrasts strongly with that house, of a more traditional character. By contrast, however, some visual harmony is achieved: the new house – the Veoveo House - does not quarrel with the existing house, it is simply different, new.

It is an extension to the house, in its inside a playroom and children's living room; hence the interior makes use of color, without falling into aggressive contrasts: blue, pink, green. Wood also plays an important role in the pallet of interior materials. The furniture is not less taken care of: Knoll pieces, a green furniture from USM or the beautiful Molteni Bookcase dialogue with each other, and also with the colors of the walls and the vegetation of the landscape that "enters" through the windows

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Tech News

srijeda, 18. listopada 2017.

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Arch Daily

Sou Fujimoto's Polyhedral Pavilion Shapes The Art Island of Japan

Still have a costume to submit? Share a photo in the comments section below or send us a Facebook message!

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