Arch Daily |
- Studio KO's Yves Saint Laurent Museum Opens in Marrakech
- School Campus De Vonk - De Pluim / NL Architects
- Solar Egg / Bigert & Bergström
- Tosan Tajhiz Factory / L.E.D Architects
- The Masonry House / stpmj
- Concerto House / Baumschlager Eberle Asean
- Seaside Wall House / Khy Architects
- Tab House / Takanori Ineyama Architects
- One of New York City’s Most Significant Early Skyscrapers to Undergo $50 Million Renovation
- Yarn Works / The Architectural Team
- Ateliers Jean Nouvel-Designed Man-Made Lagoon Highrise in Miami Begins Construction
- Vila Pedreira / AUÁ arquitetos
- 3 Pavilion Designs Shortlisted in Hong Kong Young Architects and Designers Competition
- Bed-Stuy Loft / New Affiliates
- The Unexpected Low-Tech Solutions That Made the Guggenheim Bilbao Possible
- Teotitlán del Valle Cultural Center / PRODUCTORA
- Can You Guess Which Cities These Music Videos Were Filmed In?
- The American Architecture Prize Announces Winners for 2017
- Le Bourg Dwellings / archi5
| Studio KO's Yves Saint Laurent Museum Opens in Marrakech Posted: 18 Oct 2017 09:00 PM PDT  musée YVES SAINT LAURENT marrakech. Image © Nicolas Mathéus A new museum dedicated to the life and work of French fashion icon Yves Saint Laurent has opened in the Moroccan capital of Marrakech. Designed by Studio KO, the building sits a short distance away from Jardin Majorelle – the home acquired by Saint Laurent and Pierre Bergé in 1980. With a large permanent exhibition space designed by scenographist Christophe Martin, showcasing the collections of it's namesake, the museum also features temporary exhibition spaces, a research library and archives, an auditorium, bookstore, and a terrace café. .jpg?1508351746 "musée YVES SAINT LAURENT marrakech. Image © Nicolas Mathéus") musée YVES SAINT LAURENT marrakech. Image © Nicolas Mathéus Informed by the archives of Saint Laurent, Studio KO were "struck by curves running alongside straight lines; by the succession of delicate and bold forms." As a result, the façade of the building appears as "an intersection of cubes with a lace-like covering of bricks," forging patterns that "recall the weft and warp of fabric."  musée YVES SAINT LAURENT marrakech (auditorium). Image © Nicolas Mathéus  musée YVES SAINT LAURENT marrakech (Interior Visualization). Image © studio KO  Scenography. Image © Christophe Martin Architectes  This posting includes an audio/video/photo media file: Download Now |
| School Campus De Vonk - De Pluim / NL Architects Posted: 18 Oct 2017 08:00 PM PDT  © Marcel van der Burg
 © Marcel van der Burg Passive School  © Marcel van der Burg Heart  Diagram  Diagrams  Diagram Powers of Ten  © Marcel van der Burg Gross = Net?  © Marcel van der Burg Cloister  © Marcel van der Burg  Model / All Circuit  Outdoor Spaces  Ground Floor Plan Glow  © Marcel van der Burg Primary  © Marcel van der Burg Nursery  © Marcel van der Burg Flat  Top View Plat Pays  © Marcel van der Burg Porch  © Marcel van der Burg Amoeba  Diagram Green Roof  © Marcel van der Burg  This posting includes an audio/video/photo media file: Download Now |
| Solar Egg / Bigert & Bergström Posted: 18 Oct 2017 07:00 PM PDT  © Jean-Baptiste Béranger
 © Jean-Baptiste Béranger From the architect. Solar Egg is an oval sauna created by the internationally renowned artists Mats Bigert and Lars Bergström. It draws inspiration from Kiruna's Arctic climate, where light conditions change with the seasons from 24-hour winter darkness to round-the- clock midsummer sun.  © Jean-Baptiste Béranger  © Jean-Baptiste Béranger The egg shape seeks to symbolise rebirth and new opportunities at the start of Kiruna's urban transformation, a project that involves the relocation of entire city districts in response to ground subsidence caused by decades of iron ore mining. Riksbyggen is an urban developer and the first to build new apartments in the new Kiruna.  © Jean-Baptiste Béranger  3D Top View Drawing  © Jean-Baptiste Béranger  This posting includes an audio/video/photo media file: Download Now |
| Tosan Tajhiz Factory / L.E.D Architects Posted: 18 Oct 2017 05:00 PM PDT  © Hamoon Moghaddam – Hamoon Digital Cinema
 © Hamoon Moghaddam – Hamoon Digital Cinema From the architect. Tosan Tajhiz Company's activities in the field of design and production of medical equipment cleaning and disinfection to be launched from 1998. After years of activity, the company decides to enlarge. The 500 sqm Area assign to new factory and office in Pardis Technology Park. The First challenge faced by designers was the existing foundation which restricted the height levels of underground levels. Due to the special rules of Pardis park, two levels underground and three levels above should be designed to meet the company need. The existing foundation should be considered as the lowest level and new foundation should be designed and built on the old one.  © Hamoon Moghaddam – Hamoon Digital Cinema Program: According to the physical program, the -2 floor was assigned to the warehouse, dining room, prayer room, guard room, facilities and dressing room for the production employees. -1 floor was allocated to parking, ground floor to production and first and second floors to the Showroom, administrative and engineering rooms and the manager.  Section Transparency: producing of specific and Hi-technology products, the display of the manufacturing process could have created a specific visual value for the building. In addition, the showroom could have been completely seen by observers, and the building would be representative of all activities of the company. On the other hand, the dense of the adjoining buildings in Pardis Technology Park was not desirable for designers. The more transparent building make more visual space between the adjoining buildings.  © Hamoon Moghaddam – Hamoon Digital Cinema Limited Height - Layout of Functions: The client had limited time to build, and due to the time and cost of destruction, the existing foundation should be maintained. Due to the height limitations based on park rules (10 and a half meters) and compulsory restriction of underground due to the existing foundation, different spaces are based on the height requirement, importance, and area of use.  © Hamoon Moghaddam – Hamoon Digital Cinema Voids - construction Area permitted:: For the provision of permitted Area, multiple voids were considered to have different views from different spaces at different levels. Manager room at the highest level sees all the different spaces. Also, to fulfill required high height for the Production sector, the void was considered above the sector. On the other hand, these voids in combination with the showroom as an open space on the middle level formed an empty movement in the volume. Besides, the location of the voids in a different position of the plan has created a variety of internal views.  Voids Diagram Axonometrics Façade as section: the building was considered to be maximally related to the surroundings so that the building was developed from inside and tuned from a section. The transparent facade was only intended to display the Extension of the interior. Voids in connection with the open showroom at the mid-level excavate the mass and the section of the building represent in transparent façade. Finally, vertical louvers are considered for controlling light in the production sector. The reason for not choosing the horizontal louver was due to the large excavation.  © Hamoon Moghaddam – Hamoon Digital Cinema  This posting includes an audio/video/photo media file: Download Now |
| Posted: 18 Oct 2017 03:00 PM PDT  © Song Yousub
 © Song Yousub From the architect. The Masonry, a multi-family house in Korea, seeks a playful game of "scale" in two aspects, the building itself and bricks in its façade. The site sits at the corner, facing its long-north and short-east sides to the roads. Due to the town planning, the entrance and the long side of the house need to be facing South. It makes a contradictory condition of pitched roof direction and the main face of the house.  © Song Yousub  Massing Strategy Diagram  © Song Yousub Referring Robert Venturi's House the gable is placed along with a long side of the site towards South. Intentionally treating the gable in opposite position against typical pitched roof shape for structural and economic efficiency the Masonry tricks its scale until visitors enter the house. We were asked to design a house for two families but the house would avoid the appearance of two townhouses. Diagonally stacked two kinds of bricks (100mm x 200mm) and cement blocks (200mm x 400mm) creates a singular masonry façade but also nuanced two units of the program in a single mass.  © Song Yousub  Exploded Axonometric  © Song Yousub The house composed of two families bisected East and West. The stairs run as a spine throughout two units. The stairs from the first floor to the attic and connects living room, kitchen, libraries, rooms, bathrooms, terraces and attic studio. This climbing up provides dynamic spatial experiences and visual connections through landing and ceiling changes. Beyond the connection and function of the stairs, this circulation spine becomes a main structural core in the house. Double height ceiling spaces, terraces on the second floor and attic allow natural lighting and ventilation inside keeping controls heat and humidity through four seasons.  © Song Yousub  This posting includes an audio/video/photo media file: Download Now |
| Concerto House / Baumschlager Eberle Asean Posted: 18 Oct 2017 01:00 PM PDT  © Anh Viet Nguyen
 © Anh Viet Nguyen From the architect. The Concerto House is located not far from the center of Saigon, in a quiet suburb where the roads become rough and less busy. The tropical climate is accentuated as the din of the city diminishes behind, replaced by another familiar hum, that of family life. Winding through a cluster of small roads of large traditional houses, the alluring form of the house emerges alone amongst the rest. Upon walking up to the gate of this unique structure, it is clear that there may be no other similar in Saigon or even all of Vietnam. Its striking angles and monochromatic finish speak to the onlooker of grandeur and abstract minimalism.  Ground Floor Plan A concept of harmony has been made manifest here through the inter-relationship of man, nature, and design. As we initially enter the garden, which circles the main façade of the property, the house appears to desire a connection with the water element due firstly to its direct touch with the outdoor swimming pool, which stretches the wingspan of its entirety. Thereafter the visitor can view the canal closely outside of its rear fence, and the Saigon River beyond. The durable concrete finish was chosen to adapt to the tropical climate of Saigon with temperatures often reaching high thirties and vast levels of rain.  © Anh Viet Nguyen  Section 1  © Anh Viet Nguyen The two main structures extend volumetrically beyond the front of the first level in order to provide adequate protection for the pool and patio areas. Perhaps some kind of eccentric parties had inspired the design of this pool, as the sliding doors of both the living room and kitchen open directly onto it, meaning that one step outside would meet with a wet landing. Both the private bar and music/cinema room at the basement level possess windows viewing into the side of the pool, just like an aquarium, so that we can see swimmers akin to dolphins or mermaids in a tank.  © Anh Viet Nguyen Two-thirds of the swimming pool are under cover of the 2nd level of the two main buildings, which are conjoined in the center by a central staircase. The basement boasts view to a central courtyard with an impressive tree planted in the center, bringing the garden into the building itself. This is where we really can feel a symbiosis between ourselves, nature, and architecture. The house was designed with close consideration to the owner's love for music; even the overall form of the structure loosely mimics that of an acoustically-designed modern concert hall. The open-planned first level allows for music to hum throughout the space, whether the dweller is playing piano or relaxing and listening.  © Anh Viet Nguyen Perhaps the most impressive stance of the whole structure is from the roof level, where one can see Saigon in all directions. One of the most dramatic views here is to gaze vertically down at the basement tree below. Not vertigo-friendly! From this height, it almost appears small in relation to its actuality. The Concerto House could mark a turning point in the contemporary residential architecture of Vietnam. Being the first of its kind in the country, it remains to be seen whether we see such similar styles to emerge in the coming years.  This posting includes an audio/video/photo media file: Download Now |
| Seaside Wall House / Khy Architects Posted: 18 Oct 2017 12:00 PM PDT  © Hwang Hyo Chel
 © Hwang Hyo Chel From the architect. The thought of having a weekend beach house gives us special expectations for urban dwellers. Client was a married couple living in a high-rise studio apartment. They had contradictory wishes about how they wanted their new home to be on this special site. One was to actively face the beach, and the other was to be protected securely from it. These conflicting desires generated a certain way for us to define relations between the beach and this house. Consequently, we ended up with a house that has clear gesture of facing the beach and a nuance of protection from beach at the same time.  © Hwang Hyo Chel First, we placed a long wall and added short walls perpendicularly that forms spaces that solely face the ocean. These structural walls stand independently dividing and connecting spaces of different sizes and shapes. The house, therefore, is provided with a rich variety of sceneries between different walls. Sequence of house starts from penetrating long solid walls towards short walls, and continues when climbing upstairs by curved walls or walking on a bridge from a wall to another.  Ground Floor Plan  © Hwang Hyo Chel  First Floor Plan These walls suggest an enthusiastic attitude to view ocean. Openings, in this case, is not perceived as a window, but sensed as an exterior experience as if one is standing outside between vertical barriers. Therefore the walls extend the sense of being inside towards the beach that fades distinction between inside and outside.  © Hwang Hyo Chel Meanwhile, the finishing material and shape of these walls act as a nuance of protection. Like wings of mother birds, the incurved walls form a shelter for dwellers. This slight gesture of curved walls shields inside dwellers from outside eyes. Finishing materials are bright toned dried mud bricks. These bricks represent the structural role in the building, implying the image of thick mud wall. Light falls gently on this material, bringing out the delicate texture of soil particles. According to time of the day, distance between walls, or shape of a wall, light casts soft or heavy shadow that deepens the gaze towards the beach.  © Hwang Hyo Chel By the time sun starts falling, daylight is invited all the way down to a void space placed on second and third floor from skylight. Since west side of the wall is solid without any openings, tiring rays from west is blocked. Hence, indirect light washes a marble finished wall of the void and gently brightens lower floors.  © Hwang Hyo Chel Exterior has two contrasting looks from the back and the ocean. Rear side of the house stands is flat with a firm and reliable presence. In contrast, the front shows clear stance of opening and facing towards the beach. This facade facing the beach has an ever-changing figure according to sunlight that treats the house differently as weather changes. This weekend house looks as if it is looking at the ocean even when it is empty.  © Hwang Hyo Chel  This posting includes an audio/video/photo media file: Download Now |
| Tab House / Takanori Ineyama Architects Posted: 18 Oct 2017 10:00 AM PDT  Courtesy of Takanori Ineyama Architects
 Courtesy of Takanori Ineyama Architects From the architect. A house for young couples to migrate from Tokyo to Yamanashi. Religion with the community is a very important factor for migrants from the city. We thought that opening the owner 's behavior will increase the opportunity to come in contact with the surrounding residents and surrounding nature.  Courtesy of Takanori Ineyama Architects  Section  Courtesy of Takanori Ineyama Architects Specifically we attached "Margin space" to the facade of the house which is in contact with the area such as large edge observation deck and bay windows. Then "Margin space" becomes a buffer opportunities to come into contact with the region increase the usual life becomes more triggered. The interior space is a stereoscopic one room and the whole family uses the energy efficiently by sharing the indoor environment in a large space.  Courtesy of Takanori Ineyama Architects  Sketch  Courtesy of Takanori Ineyama Architects With regard to the heating system because it is a cold district it is considered as a system that warms up the underfloor with one air conditioner releases warm air from the slit of the floor and warms the entire house with less energy. Since I started living. I got vegetables from people in the area got advice on landscaping and I got an exchange with the area via "Margin space". I believe that this house will contribute even a little to overcome the hurdle of migration.  Courtesy of Takanori Ineyama Architects  This posting includes an audio/video/photo media file: Download Now |
| One of New York City’s Most Significant Early Skyscrapers to Undergo $50 Million Renovation Posted: 18 Oct 2017 09:20 AM PDT  via Silverstein Properties One of New York City's original skyscrapers and the former largest office building in the world, the Equitable Building, is set to receive a $50 million renovation and restoration that will bring the historic structure up to 21st century standards. Built in 1915 in New York's Financial District by architect Ernest R. Graham, the 1.9-million-square-foot Equitable Building was a pioneer in the city's skyscraper boom, spanning an entire Broadway block between Pine and Cedar Streets. A simple extrusion of the site footprint, the building was notorious for its overbearing relationship to the street – outcry over which eventually led to the creation of the city's famous setback zoning laws.  via Silverstein Properties Because of these laws, the building stands as truly unique to the New York skyline. Topping out at 538 feet, the Beaux Arts-style tower is adorned in many hand-carved architectural details, with vaulted lobby ceiling, gold leaf accents marble floors. Silverstein Properties' renovation of the building with restore these details to their original intent, including reintroducing bronze elements to many of the lobby spaces, and will update others, such as the installation of a new lighting system and granite accent wall. Other new contemporary program elements to be added include a rooftop terrace, tenant lounge, a cafe, bike storage and a locker room.  Image uploaded to wikimedia by user Quasipalm. Image is in the public domain. ImageThe building under construction in 1914  via Silverstein Properties "Our plan is to restore and refine the building's unique architectural features, and also update the property and its services for tenants," said Larry Silverstein, the chairman of Silverstein Properties, in a statement released with the news. "We want to create a 21st century workplace with a distinct Downtown New York character."  Image uploaded to wikimedia by user Quasipalm. Image is in the public domain. ImageA historic postcard from 1919 featuring the building  via Silverstein Properties The $50 million project will be led by Beyer Blinder Belle, who are also tenants in the building. Renovations are expected to begin next year. News via Curbed NY, Silverstein Properties  This posting includes an audio/video/photo media file: Download Now |
| Yarn Works / The Architectural Team Posted: 18 Oct 2017 08:00 AM PDT  © Andy Ryan
 © Andy Ryan From the architect. The 100+ year-old Nockege River Mill Building, formerly home to the Fitchburg Yarn Company, is situated on 7.4 acres on the banks of the Nashua River in the city of Fitchburg, Massachusetts. Its 182,500 square feet span three massive floors. The Architectural Team's thoughtful restoration and adaptive reuse of the historic structure into Yarn Works creates 96 oversized, modern lofts, of which 57 are market-rate and 39 affordable at different levels of area median income (AMI). The building features more than 280, 8-foot by 10-foot windows to provide each unit with expansive views and an abundance of natural light.  © Andy Ryan The unit mix comprises 29 one-bedroom, 58 two-bedroom, and nine three-bedroom apartments; amenities include a large community room with 25-foot ceiling and 17-foot-tall windows, a fitness center with yoga room, on-site bike storage and workshop, and a new grand central atrium gallery.  © Gregg Shupe Renovation work on the National Register of Historic Places-listed building included removing the first floor and rebuilding it with concrete slab raised above the 100-year floodplain, as well as the repointing and repairing of the exterior brick envelope and chimney stack, and structural reinforcement to the roof. In addition, all windows and frames were replaced with historically matched, energy-efficient reproductions. The site stands a mile from the city center, with easy access to transit and commuter rail lines.  © Andy Ryan  This posting includes an audio/video/photo media file: Download Now |
| Ateliers Jean Nouvel-Designed Man-Made Lagoon Highrise in Miami Begins Construction Posted: 18 Oct 2017 07:00 AM PDT  Courtesy of JDS Development New renderings have been revealed of Jean Nouvel's first Miami project, Monad Terrace, as construction begins on site. Designed by Ateliers Jean Nouvel in collaboration with Kobi Karp, the highrise project is set to rise on West Avenue in the premier South Beach district of Miami Beach, setting a new standard of building integrity and climate resilience for the city.  Courtesy of JDS Development "Monad Terrace innovates while integrating seamlessly into the context of Miami Beach," said Michael Stern, Founder of JDS Development. "Its thoughtful design serves as an exemplar for how we should be building and developing coastal cities. Without compromising aesthetics, this project brings the ingenuity and design that is entirely appropriate to this environment. This is an important project for Miami Beach, and I am proud that JDS is leading the way." The design innovation of Monad Terrace begins on the ground, where the lobby level has been raised 11.5 feet off the surface of West Avenue, allowing all interior spaces to be located significantly over flood plain levels and eliminating the need to dig down into the water table.  Courtesy of JDS Development  Courtesy of JDS Development On the facade, a custom-engineered "honeycomb" screen built into the glass curtain wall system will significantly reduce glare and heat gain without blocking views. An abundance of native vegetation across the site and up the balconied elevation will provide further cooling and air quality improvement, as will the expansive 'water garden' consisting of a central man-made lagoon, a 116-foot swimming pool and several reflection pools. Bringing together light and water, glass and steel, gardens and facades, the building will create an effervescent atmosphere referred to by Nouvel as "the reflection machine."  Courtesy of JDS Development  Courtesy of JDS Development Inside, 59 residences ranging from two- to five-bedrooms will feature interiors also designed by Ateliers Jean Nouvel. Four penthouse units will include their own private pools on their roof decks. Additional amenities include a cafe and juice bar, a wellness center, bicycle and water sports storage and valet on-site parking. The project has secured $62.5 million in construction financing, allowing construction to proceed on schedule. The building is expected to begin its vertical ascent by March 2018, with 100% completion slated for Fall 2019. News via JDS Development.  This posting includes an audio/video/photo media file: Download Now |
| Vila Pedreira / AUÁ arquitetos Posted: 18 Oct 2017 06:00 AM PDT  © Alexandre Haralampidis
 © Alexandre Haralampidis From the architect. Vila Pedreira arose from the premise of designing an average cost house, in a standard plot of land, with conventional materials and construction systems but presenting spatial gains on the inside and optimization of open areas.  © Alexandre Haralampidis The proposed solution was the configuration of the house in two autonomous volumes, implanted in the western portion of the lot and oriented in a fanlike form facing the rising sun. In the volume closest to the street are located the social areas: a living room with double height with an integrated kitchen and a mezzanine-office. In the back volume are the two bedrooms, arranged one above the other. All openings were conceived to take maximum advantage of the house's location in the highest part of the city, providing a lot of framings of the rural landscape.  © Alexandre Haralampidis The two volumes are connected through the slab that runs along the western boundary of the lot and protects a glazed balcony for leisure activities, open to the garden and sheltered between volumes. This more secluded garden is integrated in a natural way with the eastern open area, providing alternation and continuity of sheltered areas with others visually connected to the outside.  Plan - Ground Floor  Plan - Upper Level As the natural ground rises from the street, the house was settled on a 1,50 meter high plateau that extends from the bottom of the lot to the sidewalk. At this front point, a terrace is created facing the street, like some antique residences' typologies, making this place an interface between the house, the public spaces and the sidewalk from where one can observe the landscape and talk to those who passes on the street. The proposed level elevation also evokes another traditional feature, the access stair which makes a transition between open and private areas. The position of the social building, centered in the lot, surrounded by the staircase on one side and by the natural rise of the ground on the other, turns the stair into a distributing ring to the paths between the internal and external areas, reaffirming the importance of open-air leisure moments.  © Alexandre Haralampidis O projeto da Vila Pedreira buscou, enfim, maximizar as potencialidades de demandas e condicionantes comuns, a partir de uma visão de que a arquitetura de qualidade não depende de circunstâncias extra-ordinárias para existir, mas surge a partir dos materiais de trabalho que se tem à disposição.  © Alexandre Haralampidis  This posting includes an audio/video/photo media file: Download Now |
| 3 Pavilion Designs Shortlisted in Hong Kong Young Architects and Designers Competition Posted: 18 Oct 2017 05:00 AM PDT  Courtesy of WKCDA Pavilion designs by three emerging architecture practices have been chosen as finalists in the inaugural Hong Kong Young Architects & Designers Competition. Established by the West Kowloon Cultural District Authority (WKCDA), the competition is the first of its kind in Hong Kong, aimed at "showcasing the creativity and potential of local architects and designers still in the early stages of their careers." A total of 320 entries were received from Hong Kong residents who either have been practicing for fewer than 10 years or who are currently studying architecture at the university level. The competition asked designers to envision a temporary pavilion that will be built inside the Nursery Park at the West Kowloon Cultural District. "The three selected designs are each radically different, each presenting innovative design solutions to a brief that sought a design for an inviting and dynamic Temporary Pavilion that complements the surrounding landscape and waterfront while enriching the cultural offering of the District by providing an informal space for small-scale events and activities," said the West Kowloon Cultural District Authority. "Designing an inspiring and innovative pavilion for this very dramatic and public location with the West Kowloon Nursery Park is actually very difficult. From the many-hundred design entries, we selected three unique and distinctly different designs. Any of these three would be an inspiring landmark for the West Kowloon Cultural District and Hong Kong." commented juror Chris van Duijn, Partner-in-charge of OMA Asia (Hong Kong). Juror Aric Chen, Lead Curator of Design and Architecture at M+, added, "The strength and diversity of the proposals prove what young Hong Kong architects are capable of when given the freedom and opportunity. In particular, the three shortlisted entries rethink materials, space, and construction in order to reshape the ways we interact; thus, they remind us of the joy to be found in urban existence." The three shortlisted pavilions include: SkyCamp / EXP+ (NG Siu-cheong, Liane CHEUNG Tian-nan and TSANG Suet-ming)  SkyCamp / EXP+ (Ng Siu-cheong, Liane Cheung Tian-nan and Tsang Suet-ming). Image Courtesy of WKCDA SkyCamp proposes the suspension of a cityscape in the air. This contextualises the precedent of the site - the existing ground is a sea-reclamation which before was absent. Skycamp is an idea-nursery where ground level no longer dictates our space and movement. At SkyCamp, all things happen within a void rather than on solid ground, floating and drifting at their own pace with Victoria Habourfront as the backdrop. Sedimented chaos is filtered. Feet are freed from the ground, opening our mind and senses to get closer to nature at the heart of the city - to explore the touch of the wind, warmth of the light, the inner-self and co-existence with others.  SkyCamp / EXP+ (Ng Siu-cheong, Liane Cheung Tian-nan and Tsang Suet-ming). Image Courtesy of WKCDA  SkyCamp / EXP+ (Ng Siu-cheong, Liane Cheung Tian-nan and Tsang Suet-ming). Image Courtesy of WKCDA Growing Up / New Office Works (Paul TSE Yi-pong and Evelyn TING Huei-chung)  Growing Up / New Office Works (Paul Tse Yi-pong and Evelyn Ting Huei-chung). Image Courtesy of WKCDA Just as the process of growing trees requires good soil, so the process of growing culture requires a strong foundation of collective memories of the city. Growing Up captures everyday elements fundamental to Hong Kong, embedding and cultivating them within the fabric of a soon-to-be major arts and cultural centre. While nurseries cultivate plants to be transplanted elsewhere, Growing Up transplants fragments of the city to cultivate them within the cultural district.  Growing Up / New Office Works (Paul Tse Yi-pong and Evelyn Ting Huei-chung). Image Courtesy of WKCDA  Growing Up / New Office Works (Paul Tse Yi-pong and Evelyn Ting Huei-chung). Image Courtesy of WKCDA Infinity Platform / ZHANG Ruizhao  Infinity Platform / Zhang Ruizhao. Image Courtesy of WKCDA The inspiration for the Infinity Platform Pavilion comes from the traditional East Asian folding fan, an ancient and clever trick. Playing with space and surface, by folding and rearranging the location of each fan blade, the nature of a fan can shift between maximum density and maximum superficial area. Instead of designing a pavilion with certainty of floors, walls and windows, the Infinity Platform Pavilion was designed with variability in mind, nine floor slabs can swift change from ceiling to stair, from floor to canopy by rotating around the core.  Infinity Platform / Zhang Ruizhao. Image Courtesy of WKCDA  Infinity Platform / Zhang Ruizhao. Image Courtesy of WKCDA The full jury for the competition includes:
In addition to seeing their project realized, the winning team will be awarded a prize of $250,000 HKD. The two runners-up will receive commendation prizes with a value of HKD $100,000 each. The winning design will be announced before the year's end, with construction slated to begin in early 2018. Find more information related to the competition, here. News via West Kowloon Cultural District Authority  This posting includes an audio/video/photo media file: Download Now |
| Bed-Stuy Loft / New Affiliates Posted: 18 Oct 2017 04:00 AM PDT  © Michael Vahrenwald
 © Michael Vahrenwald From the architect. Located in a former industrial space, the transformative interior renovation of Bed-Stuy Loft includes a restrained design which incorporates unfinished rough materials and muted blocks of color into the existing open-plan apartment. New architectural elements, including exposed steel, raw plywood, and expanded mesh screens, both conceal and reveal areas throughout, creating a series of distinct spaces for living, working and sleeping.  © Michael Vahrenwald The added elements playfully interact with two large existing columns positioned near the edge of the space, which serve as a terminating boundary for the design. Their architectural intervention either keeps an intimate gap that mimics the outline of the column, or hugs it. Inspired by the contrast between minimalist geometries and rough materials these adjacencies of existing and new elements preserve the clean, light, continuous environment and maximize usable space without appearing overly refined.  Plan 1  Section  Plan 2 Notable details include hand-selected plywood with a distinct gradient pattern that wraps the interior walls of the 750-square-foot interior space, carrying into the custom-designed kitchen that also features green lacquered kitchen island cabinets and bright copper pipes. The heavy interior walls are punctuated by large apertures framing curated views and bringing light from the front window-wall to the back of the loft space.  © Michael Vahrenwald A lofted sleeping area is bounded by a floating, perforated, white metal enclosure that visually separates and connects the two distinct levels by providing privacy from oblique angles and transparency from head-on, and staggering floor heights distinguish between study/sleeping areas and guest/changing areas for homeowner and guest.  © Michael Vahrenwald  This posting includes an audio/video/photo media file: Download Now |
| The Unexpected Low-Tech Solutions That Made the Guggenheim Bilbao Possible Posted: 18 Oct 2017 02:30 AM PDT  Mountain climber installing titanium facade panels during the construction of the Guggenheim Museum Bilbao. Photo: Aitor Ortiz. Image © 2017 FMGB Guggenheim Bilbao This article originally appeared on guggenheim.org/blogs under the title "How Analog and Digital Came Together in the 1990s Creation of the Guggenheim Museum Bilbao," and is used with permission. The Guggenheim Museum Bilbao, which celebrates its twentieth anniversary this month, has been hailed as a pinnacle of technological progress since its October 1997 opening. While the use of the modeling software CATIA (Computer Aided Three-Dimensional Interactive Application) was without question groundbreaking, some of the greatest moments of ingenuity during the building's design and construction were distinctly low-tech. Developed between 1991 and 1997, the curved and angular titanium-clad building was conceived at the turning point between analog and digital practice. This profound shift enveloped and permeated every aspect of the project, from the design process and construction techniques to the methods of communication technology put to use.  Guggenheim Museum Bilbao, 1997. Image © David Heald The complexity of the building was, in many cases, best communicated through physical models, so annotated photos of hand-built model details were circulated to ensure that everyone was on the same page. Other project information was relayed through every method then available: throughout the course of the project, hours were spent on the phone daily, in-person meetings were conducted every six weeks, and more than 16,000 faxes were transmitted. The core project team consisted of staff in New York, Los Angeles and Bilbao, respectively from the Solomon R. Guggenheim Foundation, architect Frank O. Gehry and Associates (now Gehry Partners), a team of 150 from the executive architect IDOM, and the legal entity created by the Basque Government: Consorcio Guggenheim Bilbao. All of these, plus the structural engineers SOM in Chicago, the mechanical engineers Cosentini in New York, and countless contractors, constituted a 24-hour office in cities across the globe.  Photographs of hand-built working models were photocopied and annotated by Frank O. Gehry and Associates to share design scheme options with the project stakeholders in New York and Bilbao. This image depicts an experiment with placing a column in the Guggenheim Museum Bilbao fish gallery. It was mailed to former Solomon R. Guggenheim Museum Deputy Director Michael Goven by Doug Hanson, Frank O. Gehry and Associates Project Architect on August 24, 1993. Image Courtesy of Solomon R. Guggenheim Museum Archives, New York Of the thousands of faxes sent, 6,000 were devoted solely to correspondence about the building's facade. Frank O. Gehry and Associates had worked with metal facades before, but they were frustrated after reviewing a series of mock-ups in Bilbao. Experimenting with abrading and burnishing the metal, the architects felt that steel was too reflective in the sun and too dull on Bilbao's grey and rainy days. By chance, a piece of titanium in the firm's material sample pile caught the team's eye. On an uncharacteristically overcast Los Angeles day the metal square was nailed to a telephone pole in the office parking lot; it went golden in the grey light and the team was smitten. When you think about titanium, the first objects that come to mind are probably golf clubs and airplane parts. Characterized by its high strength to weight ratio, this lightweight material is expensive, and only rarely used as an exterior building material, which is why it was not originally considered for the museum. Exactly 42,875 titanium panels make up the iconic facade of the Guggenheim Museum Bilbao. The story of the selection, purchase, processing and application of this metal is both calculated and serendipitous. The best-known obstacles in this saga were connected to the circumstances surrounding its purchase: at the time, titanium was more than twice the cost of steel. That initial deterrent did not phase the team, and after researching the properties of the metal it was confirmed that titanium could be used at half the thickness of steel. That conclusion alone was enough to bring the material under serious consideration, and it was included as an alternative to stainless steel in the facade bid package. Incredibly, just as the team put out the bid, Russia dumped titanium on the market at a low price. Needless to say, the price rose just after the metal was purchased for the Guggenheim Museum Bilbao, underscoring this singular opportunity. The intrinsic benefits of titanium range from its strength to its resilience—the metal does not oxidize. These qualities of the material were known and exploited as the building's construction details were worked out. Case in point: the paper-thin (.38 mm) titanium panels ripple in the wind by design. Stainless steel clips are positioned at the midpoint of each panel between traditional lock seams, causing the metal to billow rather than lie flat. Moreover, the transformative quality of the facade of the museum—that epochal golden glow—was also carefully calibrated. After the titanium was mined in Russia it was processed and rolled by Timet (Titanium Metals Corporation) in Pittsburgh. Experiments were conducted over the course of a year to ensure that just the right combination of chemicals and heat were used during the rolling process to create the surface quality that seems to effortlessly transform in response to Bilbao's sky.  These two photographs, taken in 1997, illustrate the titanium facade's range of hue as it reflects the fluctuating sky. Image © David Heald An unprecedented challenge faced the team once the titanium was ready to install. Although each two-by-three-foot panel was light enough to be comfortably handled by a single person, standard installation equipment (a crane, for instance) was not designed to accommodate the concave, vertical curves of the building. Rather than devising a high-tech installation method as complex and particular as the building itself, mountain climbers were employed to install the titanium panels. IDOM Project Manager Luis Rodriguez Llopis sums up the thinking behind this ingenious solution: "We found that it was easier to hire climbers and train them as crimpers than to hire crimpers and train them as climbers."  Mountain climbers installing titanium facade panels during the construction of the Guggenheim Museum Bilbao. Photo: Aitor Ortiz. Image © 2017 FMGB Guggenheim Bilbao Distinguished by its smooth, asymmetrical curves, the lack of repetition in the Guggenheim Museum Bilbao's form is attributed to the use of pioneering digital technology. In actuality, it is the interplay between automated and analog methods and the relationship between the building's idiosyncratic overall massing and the fairly regular grid of titanium panels that culminates in the effect that has become iconic. Although the Italy-based contractor, Permasteelisa, used CATIA files to cut the titanium panels with a CNC (Computer Numerical Control) router, it is worth noting that 80 percent of the facade panels are four standard sizes (the other 20 percent necessitated only 16 unique profiles). Hearing the flutter of these foil-like panels on a blustery day and watching the titanium take on the colors of the ever changing Bilbao sky is at once cathartic and riveting. Most illuminating is the knowledge that these striking ephemeral characteristics were meticulously planned and made possible by architects, engineers and mountain climbers alike.  Mountain climbers installing titanium facade panels during the construction of the Guggenheim Museum Bilbao. Photo: Aitor Ortiz. Image © 2017 FMGB Guggenheim Bilbao © 2017 The Solomon R. Guggenheim Foundation  This posting includes an audio/video/photo media file: Download Now |
| Teotitlán del Valle Cultural Center / PRODUCTORA Posted: 18 Oct 2017 02:00 AM PDT  © Luis Gallardo
 © Luis Gallardo From the architect. This Community Cultural Center exhibits the archeological and textile wealth of Teotitlán del Valle, a village in the Mexican state of Oaxaca. The principal volume, facing the village square, houses the Museum which will host the collections and activities of the present Teotitlán Museum of History. In formal terms, the project is governed by the aesthetics of the immediate context, which determine the height, color, and materials used. The secondary volume contains the Municipal Library and a service zone. The area occupied by both buildings on the site represents just 18% of the whole surface area, leaving a large public space of plaza and gardens. This helps to improve the pedestrian routes passing across the site and connecting with the main square, inserting the new public spaces created by the Cultural Center into the circuit of existing plazas that define the urban structure of the village.  © Luis Gallardo  Museum Building Sections  © Luis Gallardo  Plans  © Luis Gallardo The architectural volumes present austere, neutral façades. The form and material character of the building, including double-slab sloping roofs, 30 cm-thick concrete walls, and controlled openings, create a passive system that responds to the adverse climatic conditions. This basic strategy helps to regulate the temperature inside the building and provides users with a comfortable space to read a book, work or visit the museum, and at the same time eliminates the need to install air conditioning systems. The interiors present a diverse range of lighting conditions and spatial qualities (double and triple-height spaces), generating different atmospheres for exhibitions and activities. The Cultural Center uses a minimal palette of locally made materials (pigmented concrete, timber, clay tiles and bricks) in order to blend into its context.  © Luis Gallardo  © Luis Gallardo  This posting includes an audio/video/photo media file: Download Now |
| Can You Guess Which Cities These Music Videos Were Filmed In? Posted: 18 Oct 2017 01:00 AM PDT  via Youtube In the age of green screen backgrounds, hyperrealistic renderings and the endless run of superhero movies that rely heavily on special effects, some directors are still betting on turning cities into protagonists of their music videos. In the nineties, Michael Jackson visited Brazil and filmed They Do Not Care About Us in one of the most dangerous neighborhoods in South America – but do you remember which city it was? Here we compiled ten music videos where the cities, their neighborhoods and their inhabitants serve as the stage for actors, singers, and dancers to display their art around the world. Can you recognize the cities where these music videos were filmed? Take the test below and find out.  This posting includes an audio/video/photo media file: Download Now |
| The American Architecture Prize Announces Winners for 2017 Posted: 17 Oct 2017 11:00 PM PDT  Courtesy of The American Architecture Prize Three projects have been selected as the winners of The American Architecture Prize (AAP) 2017, which aims to recognize "creativity and innovation in architectural, interior and landscape design." An expert Jury judged thousands of entries from 68 countries and winners were selected from 41 categories. The jurors included Peggy Deamer, Professor of Architecture at Yale University; Troy C. Therrien, Curator of Architecture and Digital Initiatives at the Guggenheim Foundation and Museum; Ben Van Berkel, Principal of UNStudio and Professor at Harvard University Graduate School, and many more.
The AAP trophy will be awarded at the winner's event in New York City on October 27th to the following three projects: Architectural Design Of The Year: Hengqin International Financial Center by Aedas Courtesy of Aedas Limited Interior Design Of The Year: The Attic—Flamingo Shanghai Office by Neri&hu Design and Research Office Courtesy of Neri&hu Design and Research Office Landscape Design of The Year: Barangaroo Reserve by PWP Landscape Architecture Courtesy of PWP Landscape Architecture For the first time, the AAP will also be presenting the AAP trophy to three firms for their complete body of work. These are: Architectural Firm of The Year 2017: Allford Hall Monaghan Morris Courtesy of Allford Hall Monaghan Morris Interior Design Firm of The Year 2017: Kossmann.dejong Courtesy of Kossmann.dejong Landscape & Urban Design Firm of the Year 2017: PFS Studio Courtesy of Pfs Studio Other winners across the categories include: Bahá'í Temple of South America by Hariri Pontarini Architects in Cultural Architecture  Courtesy of Hariri Pontarini Architects The Wedge by A-lab in Commercial Architecture 529 Broadway by Todd Poisson AIA/BKSK Architects in Commercial Architecture Chengdu City Music Hall by Andrew Bromberg at Aedas in Educational Buildings Värtan Bioenergy CHP Plant by Urban Design & Gottlieb Paludan in Green Architecture  Courtesy of Urban Design & Gottlieb Paludan Centre hospitalier de l'Université de Montréal by Jose Silva, AIA in Healthcare Architecture Telegraf 7 by BEHF Architects in Heritage Architecture Gemma Observatory by Anmahian Winton Architects in Institutional Architecture  Courtesy of Anmahian Winton Architects Upper East Side Residences by Gabellini Sheppard Associates in Residential Interior Design Microsoft House by Lombardini22/DEGW in Interior Design/Workplaces The Regenstein Learning Campus—Chicago Botanic Garden by Mikyoung Kim Design in Educational Landscape Architecture Buffalo Bayou Park by Swa Group in Large Scale Landscape Projects  Courtesy of Swa Group You can read the full list of winners here and jurors here. All winners will be featured in the AAP Book of Architecture distributed globally. News via: The American Architecture Prize.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 17 Oct 2017 10:00 PM PDT .jpg?1508199071 "© Sergio Grazia") © Sergio Grazia
.jpg?1508199047 "© Sergio Grazia") © Sergio Grazia From the architect. The building takes its inspiration from the street where it takes place (Lebour) to generate an atmosphere like in a village. Located all around a remarkable and protected garden, the housing melts smoothly in the Montreuil urban grid. The subtle spanning and the use of natural materials contribute to the tranquility and harmony of the place. .jpg?1508199188 "© Sergio Grazia") © Sergio Grazia  Section .jpg?1508199200 "© Sergio Grazia") © Sergio Grazia The wood frame construction ensures thermal comfort and enhances well-being. The habitat assumes the characteristics that make the quality of a place of life: large bays for natural light, privative outdoor spaces and large shared garden. .jpg?1508199094 "© Sergio Grazia") © Sergio Grazia  This posting includes an audio/video/photo media file: Download Now |
| You are subscribed to email updates from ArchDaily. To stop receiving these emails, you may unsubscribe now. | Email delivery powered by Google |
| Google Inc., 1600 Amphitheatre Parkway, Mountain View, CA 94043, United States | |
Nema komentara:
Objavi komentar