Arch Daily |
- CHAI Youth Hostel / Antonio Virga architecte
- See Through House / Wallflower Architecture + Design
- 10.Creative Drink / CM Design
- The Nassim / W Architects
- Community Green Station / ArchSD
- Curitiba Cultural Centre / HARDT Planejamento
- Check Out the Dazzling Pumpkin Architecture at New York's Great Jack O'Lantern Blaze
- The Caveman / Tiago do Vale Arquitectos
- LACMA Reveals New Renderings and Drawings of Zumthor-Led Expansion Project
- House N / Estudio GM ARQ
- Foster + Partners’ First Public Garden Design to Feature in Norton Museum Expansion
- Tennis & Padel School Office / BETA.ø architecture office
- INTERIORS: Stranger Things
- The Sisters House / Anik Péloquin architecte
- How Chilean Architects Are Helping Realize Ryue Nishizawa's Curving Concrete Cliffside House
- Warsaw Selects WXCA as Winner for Riverfront Masterplan
| CHAI Youth Hostel / Antonio Virga architecte Posted: 27 Oct 2017 10:00 PM PDT -Luc-Boegly.jpg?1508817345 "© Luc Boegly") © Luc Boegly
-Luc-Boegly.jpg?1508817416 "© Luc Boegly") © Luc Boegly Text description provided by the architects. Overlooking the Valentré Bridge and the Lot River, the CHAI building is a "beacon," the new civic heart of a green and recreational zone extending along the banks of the river. It offers a broad, unobstructed view over this fortified bridge dating from the 14th century, and listed in the UNESCO registry of World Heritage Sites and a link on the historic Cahors discovery walking tour. The many medieval sites scattered around this ancient town are a major reason for its international reputation. The CHAI was designed in relation with and in answer to the town's history, heritage and the intersection of the region's main axes of circulation. -Luc-Boegly.jpg?1508817018 "© Luc Boegly") © Luc Boegly The CHAI is inserted into a context determined by a landscaped scheme designed to ensure its cohesion with the existing architectural heritage. Appearing as a simple stone-clad volume, detached from the ground, its façade bends at street level. Access to the public space in the lobby on ground floor is via the transparent area of the façade, designed as a genuine reception and area. -Luc-Boegly.jpg?1508817320 "© Luc Boegly") © Luc Boegly  Ground Floor Plan -Luc-Boegly.jpg?1508817211 "© Luc Boegly") © Luc Boegly The intervention by the office of antonio virga architecte enabled the repurposing of the interfaces with nearby territorial axes of circulation and to fully benefit from the presence of the Valentré Bridge and the Lot River, whose banks and history open onto a unique and composite landscape. -Luc-Boegly.jpg?1508817185 "© Luc Boegly") © Luc Boegly  Third Floor Plan -Luc-Boegly.jpg?1508817070 "© Luc Boegly") © Luc Boegly In a nod to the town of Cahors, famous for the 25 secret gardens hidden away in the meandering streets of the medieval town, the CHAI also houses a green space at its core. IN this way, the CHAI perpetuates a local tradition; despite the fact this garden is not entirely a secret one. In fact, it is visible from the street thanks to the transparency of the ground floor, which functions as an invitation to visit this place. -Luc-Boegly.jpg?1508817096 "© Luc Boegly") © Luc Boegly  This posting includes an audio/video/photo media file: Download Now |
| See Through House / Wallflower Architecture + Design Posted: 27 Oct 2017 07:00 PM PDT .jpg?1508932547 "© Albert Lim KS") © Albert Lim KS
.jpg?1508933116 "© Albert Lim KS") © Albert Lim KS Text description provided by the architects. The See Through House is located in one of the most exclusive areas of Singapore and was conceived together as part of a larger project comprising seven other houses. The client had resided in the old house sited atop this large piece of land; it was decided to develop six additional houses that would surround the old house. The owner selected six architects to design six distinct new houses. The old house would undergo a make-over conducted by another architect. Wallflower Architecture + Design was commissioned to design the first house in the cluster of seven sub-divided plots. The old house sits on the highest point of the land and has a panoramic view of the city. In order to preserve the vistas, Wallflower's brief was to design a house no taller than the 2nd storey balcony of the old house.  1st Floor Plan The site is characterized by a row of mature Tembusu trees protected under a conservation act. Part of this row of trees, a lone Tembusu sits squarely in the middle of this plot. In addition to this, there is a mandated 10m diameter protection zone surrounding the tree. No building or construction activity is allowed within the protection zone. Further guidelines require 65% of land to be set apart for external soft and hardscape. .jpg?1508932318 "© Albert Lim KS") © Albert Lim KS The strategy was to align the components of the house parallel to the row of Tembusu trees, resulting in a conceptual green corridor if all the plots were linked. The resultant massing comprises of two parallel volumes, separated by the lone tree in this plot, and a grassed courtyard that surrounds the tree. The main living area, dining and dry kitchen open up to the grassed courtyard and pool. The courtyard enclosure results in an intimate outdoor room that is decidedly ambiguous; the courtyard can be the garden, a terrace and it can become the central core of an atrium-style house. The private, semi-private and the view to near and far landscape changes depending on how the space is used. The See Through House is an exercise in balancing space and landscape integration.  Scheme .jpg?1508932655 "© Albert Lim KS") © Albert Lim KS Circulation within the house happens vertically via a continuous spiral stairway connecting three levels and horizontally along elongated hallways. So, that natural light and cross-ventilation is optimised, the spaces were designed to be a single room thick, and hence most are flanked on either side by the grassed courtyard and side gardens. The two levels and a basement encapsulate an owner determined functional program: garden, swimming pool, living and dining room, dry and wet kitchens, five bedrooms, a family room and a study. .jpg?1508932241 "© Albert Lim KS") © Albert Lim KS The adoption of white painted concrete walls, timber shuttered windows, and a geometrically simple and understated expression, underscores the desire to defer to the conserved colonial house sited directly across the See Through House, once the residence of a former president of Singapore. At the same time the simple geometries express and root the See Through House as a construct of this day and age. Hardwood sunscreen fins ribbon the facade, a reinterpretation of the tropical louvred window of the old colonial bungalow. It remains ever relevant, being that unassuming device that ably filters the harshness from the extremes of weather. .jpg?1508932958 "© Albert Lim KS") © Albert Lim KS  This posting includes an audio/video/photo media file: Download Now |
| Posted: 27 Oct 2017 03:00 PM PDT  © Chao Zhang
 © Chao Zhang "10.Creative Drink"is an commercial shop renovation project after the "T.LOFT Concept Experience Museum" located in urban village at Futian District, Shenzhen , where commercial shops are faced with the need of diversified space, personalized change under multi-cultural village background. The "10.Creative Drink" is located at the crossroads of two important streets in the Xinzhou South Village, center of Futiandistrict.The rapid crowds and the L-shaped street corner business interface consists of the important factor in the regional node.The Indoor space, though less than 100 cubic meters, is designed to meet the basic business activities as well as to provide a cultural and artistic exchange platform for the surrounding people, also hope to produce a differentiated behavior symbiotic in this small scale space.  Street Analysis Our strategy is to maximize the use of the space feature of two streets, the commercial sale bar facing street, the spiral staircase extended to the streets ,the two-story viewing windowsill and other serial functional space are inserted into the village diverse business life,thus creating a subtle, vivid, interesting multi-dimensional street space interaction.  © Chao Zhang With the spatial characteristics of the urban area of Xinzhou Nancun and the functional structure of the surrounding cities, the design breaks the spatial pattern of the traditional single business model, giving the space more cultural, artistic and public intent so as to create the maximum communication possibility for the consumer , and further strengthen the city village diversity.  © Chao Zhang Based on the existing urban village street space system, the rebuilt integrated image forms a strong visual contrast with the relatively chaotic atmosphere, creating a new business culture coordinates in Xinzhou South Village  Map Analysis For interior design, the graphics from Xinzhou Nancun map is combined with the cabinet, the display wall and electric box equipment.The space infiltration and continuity is achieved by patrial double layer design, where spiral stairs connect space up and down, the curved glass facade extense sight line between indoor and outdoor ,letting indoor space closer to streets. Multiple functions,such as shading, view bar, storage, volume gate cover arr integrated into the second floor facade.  © Chao Zhang  Plan  © Chao Zhang The drink production bar ,sale area and deck area are set on first floor,while the second floor can be converted into small art exhibition, salon activities, theme parties etc, under the premise of meeting the basic business need.  © Chao Zhang In facing with of the challenges of complex urban village, CMDESIGN hopes to seek more suitable design way other than the "overturned reconstruction" method through a series of project in urban villages of Shenzhen, providing multi-dimensional space needs and giving the village life more meaning and value.  © Chao Zhang  This posting includes an audio/video/photo media file: Download Now |
| Posted: 27 Oct 2017 01:00 PM PDT  © Edward Hendricks
 © Edward Hendricks Text description provided by the architects. Nestled in the heart of the Nassim enclave of colonial black-and-white bungalows, The Nassim is a boutique development with 55 luxury homes designed by W Architects. Each generously-sized apartment is conceptualised to capture the essence and privacy of a black-and-white bungalow along with the facilities of a modern condominium. Bringing a contemporary touch to the gracious living of the past, all homes feature expansive balconies that also serve as covered living rooms.  © Edward Hendricks .jpg?1508806610 "Attic / Pool Deck Plan") Attic / Pool Deck Plan  © Edward Hendricks The Nassim is just minutes away from Tanglin Road and Orchard Road, Singapore's world-renowned retail haven, as well as the verdant environs of the Singapore Botanical Gardens. Local and international schools in the vicinity include ISS International Elementary School.  © Edward Hendricks  This posting includes an audio/video/photo media file: Download Now |
| Community Green Station / ArchSD Posted: 27 Oct 2017 12:00 PM PDT  Courtesy of ArchSD
 Courtesy of ArchSD Text description provided by the architects. How can we create a temporary recycling station in our neighbourhood that would have a positive impact on the community? We do not want the Station to be a rubbish collection point, but a positive asset to the local area. The Community Green Station, located in Hong Kong East, is a pilot project for promoting green living and collection of recyclables at the community level. Completed in May 2015, we turned an under-utilized carpark under a flyover into a public gathering place to bridge the old and new neighborhood within the existing dense residential area.  Courtesy of ArchSD  Courtesy of ArchSD The concept is to create a Street through the site to connect the surrounding communities. Greenies of the nearby Park are extended to the old district through this urban intercourse. Through the use of green wall, bamboo trellis and courtyard garden, it embodies a sense of community and a touch of oasis within the city.  Site Plan The Station is divided into separate blocks along our Street that hold exhibitions and educational programmes, as well as recycling facilities that allows recyclable collections. Buildability is largely enhanced by modular and off-site prefabricated structural elements. Major components including the containers, bamboo and paving blocks are made of recycled or salvaged materials.  Courtesy of ArchSD Various sustainable initiatives are adopted here to put the green culture of "Use Less, Waste Less" into practice. We reused the modular containers as the bases of our buildings yet modified to suit the need of different functions. The flyover above contributes to the passive cooling of the venues thus reducing solar heat gain.  Courtesy of ArchSD  Courtesy of ArchSD The provision of large overhanging roof can shelter the interior from the sun. Ample on-grade greenings spread over the building and courtyard garden. Bamboo screens blend on the street elevations, soften the cool touch of containers and beautify the streetscape.  Courtesy of ArchSD Our Street, together with the garden embodies varieties of gathering places, creates multiple layers of space from public to private, from open space, semi-open space to enclosed area, as an interpretation of pavilions in Chinese Garden.  Diagram The Station has created a magnet where public life can be nurtured. Although the building is temporary, it embodies permanent cultural value, rediscovers our roots and finds parallel with prevailing green features.  Courtesy of ArchSD  This posting includes an audio/video/photo media file: Download Now |
| Curitiba Cultural Centre / HARDT Planejamento Posted: 27 Oct 2017 10:00 AM PDT  © Jefferson Carollo Filho
 © Jefferson Carollo Filho Text description provided by the architects. The new Brazil Soka Gakkai International (BSGI) Cultural Centre, located in Curitiba, became an important building for the association that has a presence in 192 countries and premises in several Brazilian cities. The Curitiba BSGI moved from a small building in the Jardim das Américas district to its new Cultural Centre of more than 2,000 sqm on a 6,270 sqm site in Bairro Alto, Curitiba. The occasion was marked by a grand celebration with typical dances, speeches by the administration and the architects responsible for the project, and was attended by the president of the Association in Brazil  Ground Floor Plan POSITION  © Jefferson Carollo Filho LANDSCAPING  © Jefferson Carollo Filho UPPER FLOOR  © Jefferson Carollo Filho VOLUMES  © Jefferson Carollo Filho  This posting includes an audio/video/photo media file: Download Now |
| Check Out the Dazzling Pumpkin Architecture at New York's Great Jack O'Lantern Blaze Posted: 27 Oct 2017 08:20 AM PDT  Image by Instagram user <a href='http://https://www.instagram.com/p/BaaMufHAfTf/?taken-at=92457'>jillmitchell2</a> In the US, pumpkins are the ultimate symbol of fall – from autumn holiday centerpieces to Thanksgiving pies to those infamous spiced lattes, the loveable gourd is near inescapable the time October rolls around. But using carved pumpkins as a building material? Now that is the sign of a true Halloween fanatic. Since 2005, the Great Jack O'Lantern Blaze has been doing just that to create dazzling displays on the grounds of Van Cortlandt Manor in Croton-on-Hudson, N.Y. The event goes through more than 10,000 pumpkins (weighing 200,000 pounds!) each season to create environmental, intractable structures and sculptures inspired by the land art works of artists such as Michael Heizer, Robert Smithson, Donald Judd, and Andy Goldsworthy. Each year, the event has grown, inspiring bigger and more daring constructions. New pieces for this year include a Pumpkin Statue of Liberty, a 20-foot Pumpkin Carousel and a Plus-Sized Pumpkin Planetarium. Check out some images of the event below!  A photo from The the Great Jack O'Lantern Blaze 2013 © Flickr user <a href='http://https://www.flickr.com/photos/quintanomedia/10132280765'>quintanomedia</a>. Licensed under CC BY 2.0  A photo from The the Great Jack O'Lantern Blaze 2013 © Flickr user <a href='http://https://www.flickr.com/photos/quintanomedia/10132280765'>quintanomedia</a>. Licensed under CC BY 2.0  A photo from The the Great Jack O'Lantern Blaze 2009 © Flickr user <a href='http://https://www.flickr.com/photos/matins/4028273688/in/photolist-78XXqC-7a4jLv-7a83eS-7a4iip-7a48W4-7a8Gk7-79hn2j-7a4gBv-7a7Eew-7a7FJm-79gXiu-7a4Xan-7a4YkP-7a43KF-7a3RZP-78XXfU-3oipM4-3oiq2M-hebVDa-Zmxy9m-ZEZCH7-3onWFb-hebp3R-hea8JZ-79hr3S-7a87nS-79dhbr-7a7TS3-7a443V-7a3YVZ-7a4AMa-7a8pFL-7a4DaF-79cDoF-7a8G5q-7a4UDX-7a8qUf-7a8tgs-7a7RG5-7aay9Z-7a7Nx9-7a4T8r-79d9yg-7a8hsh-79ckti-7a44Uz-7a8xkm-78ANn2-7a49dX-7a7XV3'>matins</a>. Licensed under CC BY-NC-ND 2.0  A photo from The the Great Jack O'Lantern Blaze 2013 © Flickr user <a href='http://https://www.flickr.com/photos/quintanomedia/10132280765'>quintanomedia</a>. Licensed under CC BY 2.0  A photo from The the Great Jack O'Lantern Blaze 2013 © Flickr user <a href='http://https://www.flickr.com/photos/quintanomedia/10132280765'>quintanomedia</a>. Licensed under CC BY 2.0  A photo from The the Great Jack O'Lantern Blaze 2013 © Flickr user <a href='http://https://www.flickr.com/photos/quintanomedia/10132280765'>quintanomedia</a>. Licensed under CC BY 2.0 Find a full gallery of professional photos from this year's event, here.  This posting includes an audio/video/photo media file: Download Now |
| The Caveman / Tiago do Vale Arquitectos Posted: 27 Oct 2017 08:00 AM PDT
 © João Morgado Text description provided by the architects. Having as a starting point a shoe store built in the late 90's, this new commercial space -which targets a very specific (and demanding) market with a wide range of products- required a project designed to have great flexibility in the presentation of the products, generate a space with a strong, recognizable and repeatable image, while achieving it at a very low cost.  © João Morgado  © João Morgado The pre-existent drywall false ceiling was demolished and the wallpaper on the walls removed. Lifting the degraded floating floors revealed a concrete subfloor in great condition. A concrete column was hidden behind four floor-to-ceiling mirrors.  Floor Plan Returning the space to its most raw characteristics exposed its most strong features: a rediscovered ceiling height and a phenomenal transparency to the street.  © João Morgado To achieve the store's goals, the approach had to be very pragmatic, based on a simple gesture that could organize the space in its entirety and resourcing to cost-effective solutions that wouldn't require expensive finishes or maintenance.  Diagram 02 The resulting design is an ode to the value of the materials as they are: their frankness, their natural image and their intrinsic qualities.  © João Morgado  © João Morgado The exposed ceilings, perimetral walls and infrastructures are painted black, toning down their presence in the background.  © João Morgado A large "U" shaped surface warmly embraces the visitors, serving as the product showcase and, through its deconstruction, designing the store counter. The yellow cement wood boards are perforated in a pattern that allows the product display area to be infinitely reconfigured with sucupira wood pegs -serving both as shelves and hangers. There are minimal cuts to the boards and no leftovers.  Diagram 03 These boards are supported by a galvanized steel structure that reinforces the "U" shape and deemphasizes the irregular perimeter of the store behind it. The geometry of this plane relates to the perimetral walls in such a way that it allows for a dressing room, storage and working spaces behind it.  © João Morgado Hanging from steel cables, along one of the glass store sides, there are four displays, constructed from the same cement wood boards and galvanized steel profiles used before.  © João Morgado All in all, the entire store is composed by four materials, in their raw, pure state: pre-existent concrete, cement wood boards, galvanized steel and wood. With great simplicity it was possible to produce a very rich, complex space. Though each part may appear crude when regarded individually, their ensemble results in a welcoming place of great warmth and finish, defined by the qualities of the honest, exposed materials, the carefully crafted details, its wonderful transparency and its extremely judicious lighting.  © João Morgado  This posting includes an audio/video/photo media file: Download Now |
| LACMA Reveals New Renderings and Drawings of Zumthor-Led Expansion Project Posted: 27 Oct 2017 07:00 AM PDT  © Atelier Peter Zumthor & Partner / The Boundary The Los Angeles County Museum of Art (LACMA) has unveiled new renderings and drawings for their $600 million transformation designed by Atelier Peter Zumthor, as an environmental impact report for the project has been released.  © Atelier Peter Zumthor & Partner / The Boundary The impact report provides some details of the museum plans, which will replace four existing buildings on the east campus with a new 387,500-square-foot building bridging Wilshire Boulevard. While the new space is aimed at providing a more cohesive museum experience, the construction will actually reduce the overall square footage by approximately 5,371 square feet and to combined maximum theater capacity from 716 seats to about 300.  Courtesy of LACMA  © Atelier Peter Zumthor & Partner / The Boundary The majority of the new building will hover about the site, touching down on seven semi-transparent Pavilions. This architectural move will allow additional space for an enhanced outdoor area including new landscaped plazas, outdoor public programming, sculpture gardens and native drought-tolerant vegetation. A parking structure on the southwest corner of Wilshire and Ogden Drive will replace an existing surface parking lot.  © Atelier Peter Zumthor & Partner / The Boundary  © Atelier Peter Zumthor & Partner / The Boundary Since it was announced in 2014, the project has undergone several major changes, most notably changing its original form to protect the nearby La Brea tar pits and changing its color from black to sand. Construction of the new building is expected to begin in late 2018, with completion tentatively scheduled in 2023. See the full gallery of official images below. News via LACMA, Urbanize LA
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| Posted: 27 Oct 2017 06:00 AM PDT  © Alejandro Peral
 © Alejandro Peral Text description provided by the architects. In the beginning, this house was planned as a weekend residence, but with the progress of the project, the owners were enthusiastic about transforming it into a permanent home. So, certain sectors were expanded, but the original proposal of a white box supported on volumes of exposed concrete, remained.  © Alejandro Peral In order to channel one of the owner's passions, the garage was given a special prominence, separating it from the rest of the house and designing it so that it could also function as a mechanical workshop and as an exhibition space for vehicles.  © Alejandro Peral The rest of the project included the design of the public area on the ground floor, formed by the kitchen, the big living-room and an en suite bedroom for eventual guests, which also functions as a TV and rest room.  © Alejandro Peral  Ground Floor Plan The upper floor houses the children's bedrooms with a shared bathroom and the main suite, with large dimensions and a careful design in the bathroom, which takes advantage of the views to the lagoon.  © Alejandro Peral  First Floor Plan  This posting includes an audio/video/photo media file: Download Now |
| Foster + Partners’ First Public Garden Design to Feature in Norton Museum Expansion Posted: 27 Oct 2017 05:00 AM PDT  © Foster + Partners The Norton Museum of Art in West Palm Beach, Florida has announced plans for the first-ever public garden designed by Foster + Partners as part of their $100 million expansion project. To feature a variety of native sub-tropical plantings and gathering spaces, the garden is envisioned as "a new social space for the community." "From the beginning, we have conceived of the Norton expansion as an opportunity to create a New Norton—one that embraces its original design, while also creating a more welcoming and inviting campus," said Lord Norman Foster. "In our masterplan, it was important for us to define the Norton's sense of place—in this case Florida's lush subtropics. To do so, we conceptualized a museum within a garden. We are creating verdant spaces for art and programming that extends the museum beyond its walls." Fitting into the 6.3-acre campus masterplan, the new landscape will feature a series of Art Deco-inspired pavilion circling a central courtyard to create shaded corridors linking "garden rooms" along the southern axis of the Museum. Lush plantings will frame individual spaces within the Pamela and Robert B. Goergen Garden, which will house 11 notable art works gifted by the the couple to the museum including contemporary pieces by Keith Haring, George Rickey, and Mark di Suervo. At the center of the plan, the "great lawn" will serve as an open-air venue for the Museum's "Art After Dark" program and other events, performances and screenings. Inspired by a historic banyan tree planted on the museum's opening in 1941 (which will anchor the new museum entrance to the west), Foster + Partners have also included a "mature garden" featuring eighty-two mature trees whose canopy will immediately interact with the expansion's curving roof structure.  © Foster + Partners Other planned elements including a new entry forecourt featuring a reflecting pool and a monumental, 43-foot-tall, semi-reflective metal canopy cantilever 45 feet out from the building facade. An opening in the canopy will gesture toward the 85-foot-tall banyan tree. New interior spaces that will interact with the garden include the 210-seat Stiller Family Foundation Auditorium; the Jane and Leonard Korman Room; and the Leonard and Evelyn Lauder Restaurant, with outdoor dining space located on the John and Marjorie McGraw Terrace. The 3,600-square-foot, 43-foot-tall Ruth and Carl Shapiro Great Hall will connect all these spaces, offering gathering and relaxation spaces with lounge seating, a coffee bar, piano and book carts.  © Foster + Partners The expansion will also include 12,000 square feet of new gallery space for seasonal exhibitions and the Museum collection and the William Randolph Hearst Education Center, which will more than double the current amount of educational facilities. Other projects related to the masterplan include the restoration of six 1920s-era houses located south of the garden to serve as studios for artists-in-residence and the new Director's Residence. Construction on the project is already well underway, having topped out in June of this year. The project is slated to open to the public in February 2019. Learn more about the expansion project in our previous post, here. News via Norton Museum of Art, Foster + Partners.
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| Tennis & Padel School Office / BETA.ø architecture office Posted: 27 Oct 2017 04:00 AM PDT  © Imagen Subliminal
 © Imagen Subliminal Text description provided by the architects. The project proposed the construction of a new office for the tennis and padel school in a sports grounds located in a privileged natural setting in Madrid. The arrangement put forward, consisting of an office, a customer service area and a storage space for the equipment needed to give classes in the sporting disciplines, was resolved by paying special attention to the landscape and natural setting of the new building. So, after careful analysis of the grounds, locating each of the trees on the site, it was decided to break the functional programme up into two smaller parts, allowing easy integration of new building into the landscape and respecting the existing tree-lined area.  © Imagen Subliminal The simple geometry used to resolve these two small constructions sprang from the desire to recover "small architecture", a look at the essence, something that means shelter to everyone. Two small buildings that, through discreet placement among the existing tree-lined area, easily resolve the functional programme and generate a new rest space between them. Their outward appearance and formal rotundity, together with leisurely contemplation, carry the user's imagination to the dream of a simple life, in harmony with nature, to the shelter of a solid structure that protects and caresses its occupants, breathing naturalism, balance, and peace.  © Imagen Subliminal In construction terms, the two cabins were executed in the same way, by resolving them as items for industrialized construction, by means of a workshop-built steel structure, based on a single 5 m x 3 m module that could then be transported to site. The two buildings are supported on and separated from the existing land, with just a small concrete slab placed under the foot of each cabin as foundations. These respect the existing tree roots and give the assembly the necessary stability. The continuous interior finishes facilitate spatial compression. The continuous interior lining of the floors, walls, and ceiling are made of varnished pine plywood paneling in the case of the office and waterproofed plasterboard and embossed steel sheet in the storeroom.  © Imagen Subliminal  © Imagen Subliminal The exterior is composed of phenolic panels and a skin of continuous scales in oxidized and varnished sheet steel with insulation between the two. A final exterior lining, in the form of a second skin made of an oxidized and varnished metal mesh, allows covering plants to grow over the whole volume of each construction, so achieving integration with and mimicry of the landscape setting that surrounds them throughout the different seasons. The existing imposing deciduous trees integrated between the two buildings are used as an indispensable element of the project, providing each building with the necessary shading in the most sunlit months and allowing sunlight to penetrate to the inside in the coldest months. This simply and efficiently optimises the energy performance of the new buildings using the site's pre-existing natural resources.  Office Parts Plans  © Imagen Subliminal  Office Plans  This posting includes an audio/video/photo media file: Download Now |
| Posted: 27 Oct 2017 02:30 AM PDT  Courtesy of Interiors Journal Interiors is an Online Publication about the space between Architecture and Film, published by Mehruss Jon Ahi and Armen Karaoghlanian. Interiors runs an exclusive column for ArchDaily that analyzes and diagrams films in terms of space. The first season of Stranger Things, which debuted on Netflix in July 2016, pulls its influences from the likes of Steven Spielberg, John Carpenter, and Stephen King, and stands on its own merits as a result of the inventiveness of its creators, filmmaking duo Matt and Ross Duffer. Interiors spoke with Production Designer Chris Trujillo on the visuals of the series and several of the core spaces used throughout the first season, including Hawkins Laboratory, Will Byers' house and, of course, the mysterious world of the Upside Down, which takes bits and pieces of the real world and twists them into a space entirely its own, one that exists both as part of, and outside of, the real world. Stranger Things was filmed outside of Atlanta in small towns like Douglasville, Jackson, and Stockbridge, with the hope that the setting would feel "instantly familiar" and could stand in for virtually any town in the United States. Atlanta was the ideal choice for the filmmakers because the city and its surrounding towns represented a broad spectrum of archetypal Americana. In terms of production design, the production could create the look of 1970s and 1980s American life with very little modification to the existing locations.  Courtesy of Interiors Journal Hawkins Laboratory, for instance, functions as a cold and imposing entity—a location that looms in the backdrop of Hawkins, Indiana. In this sense, its proximity to the center of the characters' lives factors heavily into the narrative of the series. Chris Trujillo notes that the space "works as a physical reflection of the Reagan Era," and effectively hints at the Cold War anxiety lying under the surface of the town. The design of the interior spaces of the characters' homes, specifically Will Byers' house, required a different approach. The filmmakers started with the characters themselves and reverse-engineered what the spaces would look like. "We start with the characters, who they are emotionally, culturally, socioeconomically, and we figure out how all of these factors would have been expressed in the context of the trappings of American life" in the given time period. This is best seen with the character of Joyce Byers (Winona Ryder), who uses Christmas lights, which she can barely afford, to communicate with her son Will, who has found himself trapped in the Upside Down. Joyce decorates the interior space of her home with these lights—and covers an entire wall with the alphabet—as her home becomes a tool for communication with Will. The Byers' house becomes more and more tarnished but it is all for the sake of finding Will. The next step in the process for the filmmakers was laying out the interior space and constructing camera movements around it, which was discussed between the directors, cinematographer, and production designer. The floor plan was designed accordingly, with considerable thought being put into the proximity of each of the rooms, while consciously thinking about how the camera would navigate these spaces throughout the series. The space itself was also designed with the Upside Down in mind, for later scenes that show the house being transformed when entering the mysterious parallel world. In essence, the Upside Down is an alternate dimension; while it possesses the same general layout and infrastructure of the real world, it's much more ominous. In scenes where Will is trapped in the Upside Down, we can clearly see that he is in the "same" space as his mother, who is in their family home, albeit in an alternative version of the space. Different types of portal exist between the real world and the Upside Down to make the audience understand that these are two different, but very similar, worlds. Will discovers that he can communicate with his mother by manipulating certain elements of the Upside Down; for instance, he finds that he can manipulate electricity and communicate to her through the Christmas lights she has set up in her home.  Courtesy of Interiors Journal Interiors has designed a Floor Plan of Will Byers' house that depicts the moment when Will's Mom, Joyce Byers, first makes contact with Will through Christmas lights after he has gone missing. This is a pivotal scene within the show because it is the moment in which Joyce realizes that she can communicate with Will and that he is alive. Additionally, the Byers' House becomes a significant location in the show after this scene, as Will knows he can communicate with his family from there. The space of the Upside Down became, for the filmmakers, "the most creatively laborious and painstaking collaboration of the entire season." This was primarily because the production had to turn a "shared fantasy"—one that was developed extensively even before the series was picked up—into a true physical space. The final look of the Upside Down came as a result of teamwork between physical effects and visual effects. Chris Trujillo states that the creation and design of the Upside Down spoke well about the entire filmmaking process: "after all the logistical ups and downs, all the creative ins and outs, and after passing through a thousand different contributing hands," the ultimate conclusion was what the team hoped it'd be. Stranger Things, as a result, is a marriage of ideas—its preexisting influences with the modern sensibilities of its filmmakers. The first season is wholly original, while also reliant on the cinema of the 1970s and 1980s. Architectural Drawings and Graphics were created by Interiors (www.INTJournal.com).  Courtesy of Interiors Journal Interiors is an Online Publication about the space between Architecture and Film. It is run by Mehruss Jon Ahi and Armen Karaoghlanian. Check out their Website and Official Store and follow them on Facebook and Twitter.  This posting includes an audio/video/photo media file: Download Now |
| The Sisters House / Anik Péloquin architecte Posted: 27 Oct 2017 02:00 AM PDT  © Louis Prud'homme
 © Louis Prud'homme Text description provided by the architects. The owners purchased a small house on a secluded lakeside lot in La Malbaie. For its first three decades, the house was used as a hunting lodge, then it became the summer home for the Sisters of Charity. The urbanite owners lived there sporadically for six years to acclimate themselves to the natural setting and define their needs. Because it would have been very expensive to renovate the house, they soon decided to opt for new construction instead. The existing house would remain standing as the "big sister" bearing witness to the history of the place. It would become a bunkhouse for guests.  © Louis Prud'homme The new house – the "little sister" – is clad in tamarack. It has two bedrooms, a bathroom, kitchen, and lounge areas. To ensure strong integration, the volume was defined before the interior was laid out. Its size is modest, and the unique shape of the roof meets the owners' requirements while harmonizing with the big sister and the landscape. On the west and south sides, the roof's overhang makes it possible to keep the outside walls low, consistent with the scale of the older house. The proportions are also in line with the lake and the tree line on the far shore.  © Louis Prud'homme To the east and north, the roof rises steeply to the ridge board, more than 25 feet off the ground, echoing the surrounding trees and a church steeple, evoking the site's history. Inside, the edges defined by the roof shape the volumes of the living room and the master bedroom, the only room on the second floor. White-stained pine softly diffuses the light. The project is a reflection on the integration of a new building into a natural setting. It is not intended to dominate the landscape, but to be a part of it. The volume, scaled appropriately to the site, becomes an ideal setting for the lives that unfold here, both indoors and out.  © Louis Prud'homme  Sections  © Louis Prud'homme  This posting includes an audio/video/photo media file: Download Now |
| How Chilean Architects Are Helping Realize Ryue Nishizawa's Curving Concrete Cliffside House Posted: 27 Oct 2017 01:00 AM PDT  © Nico Saieh The Ochoalcubo project, a pioneering experiment led by the entrepreneur and architecture lover Eduardo Godoy that seeks to unite leading Chilean and Japanese architecture practices with ground-breaking architecture, has started a new phase. Made up of 8 phases which involve 8 different architects, the first stage of this architecture laboratory took place in Marbella and included work from Christian de Groote, Mathias Klotz, Cristián Valdés, José Cruz, Teodoro Fernández, Cecilia Puga, Smiljan Radic and Sebastián Irarrázabal. Toyo Ito was the first international figure to participate in the project with the construction of the White O House in 2009.  © Nico Saieh Following the magnitude 8.8 earthquake that hit Chile in 2010, and the subsequent disasters that hit Japan in 2011, the second stage of the Ochoalcubo project in Marbella was halted, and replaced by two new stages that would establish a bridge to connect the culture and architecture of these two countries. Eight Japanese and eight Chilean architects of international renown joined the project to create interventions on the coast of Ochoquebradas, located close to Los Vilos, in the Chilean region of Coquimbo. The team for this phase is made up of Akihisa Hirata, Atelier Bow-Wow, Junya Ishigami, Kazuyo Sejima, Kengo Kuma, Onishi + Hyakuda, Ryue Nishizawa, and Sou Fujimoto from Japan, along with Guillermo Acuña, Alejandro Aravena, Felipe Assadi, HLPS, Izquierdo & Lehmann, Máx Nuñez, Cristián Undurraga, and WMR from Chile. Currently, houses by Alejandro Aravena (Elemental) and Ryue Nishizawa, two recent winners of the Pritzker Prize, are under construction.  © Nico Saieh  © Nico Saieh We decided to check in on the progress of the Nishizawa House in Ochoquebradas, after Eduardo Godoy and the architect Sarah Bosch showed us photos of the work. We could not believe the size of the beams that held up the wavy concrete slab proposed by the Japanese architect and the molding work that was shaped like a wooden snake. The artisanal beauty of the process was something that we had to witness with our own eyes. Weeks later, we set out on the road to Los Vilos to find Eric Meinardus, the Chilean Architect responsible for making Ryue Nishizawa's dreams come true. When we arrived, we were first able to walk around the nearly-completed ELEMENTAL project, which was also entrusted to the control of Meinardus. The house is formed of three monolithic blocks that seem to have always been there, like rocky remains that have emerged from the waves. The terrain on which this new series of works is sited is of the highest natural value, so each intervention has been meticulously developed according to its environment.  © Nico Saieh  © Nico Saieh As we approach Nishizawa's work, we witness a great number of busy workers. The design is a true structural challenge and, the day after our visit, the workers would face a milestone in its development: the pouring of the undulating concrete slab 30 centimeters thick and 50 meters in length, which meets the ground at just three key points. As in the Teshima Art Museum, Nishizawa seeks to achieve harmony with the landscape through the use of curves and free forms. The undulating forms are directed this time towards the sea, marking an axis under which a free rectangular floor rests, elongated and narrow, slightly curved at its longitudinal ends. This interior space, delimited by the concrete shell which covers it, was outlined by a 40 x 60-centimeter grid of formwork. This virtual mass, which presents us with what could be the negative form of a sculpture, sustains the moldings and the dense fabric of steel reinforcement, which together will form the edges and the heart of the concrete slab.  © Nico Saieh  © Nico Saieh Meinardus explains how his role has been focused, in large part, on adapting the 3-dimensional models that are sent to them from the office in Japan to the reality of Chilean construction. The central axis that crosses the house from east to west serves as a reference point to create section cuts that indicate the location and height of each of the scaffolding supports. Through a coordinate system, which translates into hundreds of cuts, the complex curving geometry of the project has been achieved. The plans are combined with these technical drawings to know how the supports for the moldings must be arranged to give the precise geometry of each point of the slab. Sheets and sheets of schematics, cuts, and details become the constructive route that Meinardus and his team are carefully following to successfully achieve the mission which they have been given.  © Nico Saieh  © Nico Saieh The first third of the slab, which also corresponds to the first curve of the project, is already concreted and presents us with a sample of what the final result will be. Meinardus tells us that it was not possible to pour the whole slab at once because of the length of the project and the difficulty of reaching the whole area with the truck's telescopic pump. For this reason, the first part of the slab, near to the sea, had to be poured before constructing the whole structure. The scaffolding system will be removed from the concrete after approximately a month and will be replaced by struts that will be installed for 2 months for additional safety. After removing the molds, the team will face a new challenge: to install the window panes such that they fit the curvature of their profiles. Since the slab has very few support points, a seismic deformation has been calculated that forces the windows to have sufficient tolerance to expansion. For this purpose, a coupling system, connecting an embedded profile in the slab and another one that holds the glass, will be used to allow the required movement.  © Nico Saieh  © Nico Saieh In order to achieve maximum transparency, it was decided to use large sheets of laminated glass instead of double glazing, using fixed panes without any frames, in order to fill the least amount of the perimeter walls. Eric Meinardus' goal is to have the house closed and to be able to start the final finishings, such as installing furniture, by the end of the year. According to what we have seen, this part of the project should be one of the least complex, but that does not mean it won't be completed with the same care and attention to detail. In fact, a couple of months ago one of the architects from the Nishizawa office traveled to Chile to see the progress of the work and to gather information about suppliers. Through this process, from Japan Nishizawa will be able to see to the selection of furniture and use of materials that will occupy the interior of the firm's first house built in South America. Text: Pola Mora  This posting includes an audio/video/photo media file: Download Now |
| Warsaw Selects WXCA as Winner for Riverfront Masterplan Posted: 26 Oct 2017 11:00 PM PDT  In Warsaw, Poland architecture firm WXCA wins the masterplan proposal for a stretch of riverfront along the Vistula River. The Vistula River Boulevards are among the most frequented public spaces in the city, and gaining popularity as entertainment and cultural offerings become available. WXCA's winning design for Kahla Square aims to resolve the disconnect between the river banks and to provide amenities to support waterfront activities.  Activating the space that ties together the Copernicus Science Center, the Academy of Fine Arts, and future sports facilities, complimentary outdoor spaces are proposed. The Polana Sztuki clearing for the arts, the Park Odkrywców discover park, and the Skwer Sportów Miejskich support the existing cultural attractions while providing accessible ground-floor services for public use.  With sensitivity to the weather of Warsaw, WXCA has designed an urban roof to lengthen the riverfront recreational season. The covered areas also allow activities to take place over a longer period of the day, including evening gatherings at the food pavilion and at events.  The winning entry for the Vistula River Boulevards competition for the city of Warsaw balances the human need to come into contact with nature while providing urban density thus creating a rich and dynamic built environment to live in. WXCA's concept aims to strike the balance between the urbanized environment and the natural landscape.   WXCA Team: Szczepan Wroński, Małgorzata Dembowska, Krzysztof Moskała, Krzysztof Herman (landscape architecture), Paweł Wolanin, Aleksandra Adamczyk Cooperation: Michał Lipiec, Piotr Łosek, Piotr Żółtowski (structural solutions), Dot Design Studio (visualization) News via: WXCA.  This posting includes an audio/video/photo media file: Download Now |
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