Arch Daily |
- Villa ZüV / Tomás Amat + Pablo Belda Studio
- Paving the Way: Celebrating a Centenary of Women at London's Architectural Association
- Schaer Headquarter / monovolume architecture + design
- Skanska HQ Budapest / LAB5 architects
- NY House / IDIN Architects
- Beyond House / Ben Callery Architects
- St Kilda Extension / Finnis Architects
- Malek Residential Building / Piramun Architectural Office
- Huangshan Mountain Village / MAD Architects
- Bisset Adams Wins RIBA Competition for New Library in Thamesmead, London
- Casa SarahMarc / Pe+Br+Re arquitectos
- K2S Architects Wins Competition to Replace Fire-Razed Church in Ylivieska, Finland
- Offices and housing Strasbourg / Dominique Coulon & associés
- CEMEX Announces International Winners In Their 2017 Building Awards
- Residential Complex on Zeeburger Island / Studioninedot
- How to Use “Structured Procrastination” to Get the Best Out of Your Bad Habits
- Texcoco House / Dosa Studio
- The Simpsons’ Home As It Would Look In 8 Popular Architectural Styles
- Prefab Pop-Up Shelter Designed for Burning Man and Perfected for Disaster Relief
- Architecture Is Moving Into a Realm Where History Plays as Much a Part as Medium
| Villa ZüV / Tomás Amat + Pablo Belda Studio Posted: 13 Nov 2017 09:00 PM PST  © David Frutos
 © David Frutos Text description provided by the architects. In Elche, Alicante, this detached-single family house was built bearing a minimalistic and sculptural soul. The Villa ZüV- was designed and managed by Tomás Amat Architectural Studio, Pablo Belda + Tomás Amat. The Studio was able to find a solution to the complex and highly demanding project that sought to achieve both privacy and quality for a couple with two children who had from the beginning a very clear idea of what their new home should contemplate and convey, that being simplicity, elegance and functionality.  © David Frutos This was the result. The villa is built on 590m2 of the 1000m2 lot, in a consolidated residential neighbourhood of the city surrounded by houses on three of its sides. As the architects indicate, the project "footprint within the plot was defined based on the regulatory limitations of the area and the orientation of the main facade". These two factors " also influenced the definition and articulation of the house into three longitudinal volumes that give it a fragmented image, each section a different part of the needs program".  © David Frutos  Sections  © David Frutos The Villa ZüV is distributed on two floors: above ground level and a basement.. On entering the house at street level, there is a kitchen, living room, study, toilet and guest room. The first two open to the garden and are connected to it through minimalistic and retractable aluminum carpentry that allows for a total connection between the interior-exterior. The borders are diluted without losing any of the privacy. The horizontal sliding aluminum doors in this exit protect the interior life in the villa from the view of others and shade the entrance of the setting sun. The panoramic views towards the swimming pool and the garden area are guaranteed, as is the privacy of the residents of Villa ZüV.  Ground Floor Plan An impressive staircase connects the first floor and the basement, designed to be the project’s most prominent feature. The staircase was designed not only from a formal and structural point of view, but also seeks for its sculptural value to be enjoyed with each step. As the central element of the house (the inner core of it) it has light aesthetic attraction despite being built with concrete. It is flanked by glass sheets and a protective structure made of wooden profiles. Its design is balanced and harmonious, beautifully contrasting the aesthetic qualities of the oak materials, cold and warm materials respectively.  © David Frutos Natural sunlight penetrates through the wood paneling while the entrance and the different corridors remain shaded on the upper and lower floors. The irregular arrangement of these wooden slats evokes a sense of rhythm and movement with beams of light shining through and and creating set of a thousand nuances and tones on the pavement.  Detail The upper level of the house hosts the living room and TV area, as well as three large bedrooms. Each looks onto a different facade with a private bathroom and terrace. All these rooms are connected by a corridor.  © David Frutos The garage and facilities rooms are located on the basement level so as not to lose utilizable floor space designated to the garden. This main exterior area is raised around the rectangular pool to which, also features a kitchen and dining space. A large double height porch with micro-cement finishing serves as a terrace and enhances the fractional image of the villa. In the back of the villa there is another outdoor area designed especially for barbecues and other gastronomic events with which to enjoy as a family and when receiving visitors. A special mention should be made of the native green species, especially the palm tree, which shine in the landscaped areas of Villa ZüV. As well as other imported plants that add an exotic and exuberant touch to the exterior of the house.  © David Frutos Luxurious materials and minimalist design In any residential project of this style the quality and materials used in the interior design make a big difference to the finished product. In the planning and development of Villa ZüV these details were priorities for the owners, laying out specific requirements. They wanted high-end quality coatings with a timeless look for a minimalist and contemporary design that, in turn, would give the house a harmonious and cozy aesthetic.  © David Frutos To achieve this, the Tomás Amat and Pablo Belda Studio opted for the predominant use of concrete, micro-cement and natural wood in the interior of Villa ZüV. In the wet rooms (kitchen and bathrooms) tecno-cement flooring was installed in grey tonality 2. The bathrooms are also topped with tecno-cement walls of different colours, which gives these rooms a sensation of greater depth. In the kitchen, the use of rustic oak in the panelled storage modules and the oven and wine cellar towers are clear features, as well as the island table in parallel to those with marble countertops.  © David Frutos The communal day rooms, halls and corridors (the living room, dining room, leisure halls, corridors and halls) and the private and nocturnal areas (bedrooms) are paved with aged natural oak flooring. The master bedroom, in addition to the double height main room, has tecno-cement black covering its main vertical walls, creating focal points of interest that complete and fill these spacious spaces with a demonstrated continuity, as if they spoke the same language and were connected to each other.  Detail Natural oak and white lacquered wood sliding and hanging doors were a must for interior design of the house, a key element of the overall design. At a decorative level they are the epitome of simplistic and minimalistic furniture. The pieces chosen to furnish the rooms coexist in harmony and balance, particularly the sofas, armchairs, tables, chairs, beds. Each element of the design has straight and refined lines and belongs to a neutral chromatic range (grayscale and earth tones) for a final result which couldn’t be finer.  © David Frutos  This posting includes an audio/video/photo media file: Download Now |
| Paving the Way: Celebrating a Centenary of Women at London's Architectural Association Posted: 13 Nov 2017 08:00 PM PST _(2).jpg?1510571993 "Winifred Ryle, Ruth Lowy, Gillian Cooke, and Irene Graves. Image © Architectural Association (AA XX 100)") Winifred Ryle, Ruth Lowy, Gillian Cooke, and Irene Graves. Image © Architectural Association (AA XX 100) This short essay was written by the curators of AA XX 100, a multi-media project celebrating the centenary of women in London's Architectural Association (1917-2017). Zaha Hadid, Amanda Levete, Patty Hopkins, Denise Scott Brown, and Minnette de Silva are familiar names of women who were products of the Architectural Association School of Architecture (AA). Less familiar are the women who paved the way for the global careers of these architecture superstars. Established in 2013, the AA XX 100 project was initiated to tell the story of women at the AA, with the aim of commemorating the centenary (this year) of their admission to the school with an exhibition, book, and international conference. When the project began we didn't know the names of the first students but, four years on, we do, and in telling their story—and that of the generations of women who followed them—we see that their history is at once a history of the AA and architectural education, as well as a history of British and world architecture across the 20th and 21st Centuries. The advent of that first cohort of women students in October 1917 was marked several months later with an article declaring them the "Future Heads of the Profession," accompanied by an illustration (above). Shown in silhouette, and unidentified, it took some detective work—no records survive for 1917—to put names to heads: (left to right) Winifred Ryle, Ruth Lowy, Gillian Cooke, and Irene Graves. The decision to admit them came in part from ongoing feminist campaigns to widen women's access to the professions, and the education to achieve this, but, in the case of the AA, the tipping point in their favor was the combination of financial problems caused by the move to new premises in Bedford Square, and the absence of male students away fighting in the First World War. They were a remarkable group: brought up during the suffrage campaigns of the early 20th Century, their mothers and other key family members were involved in the suffrage movement and their homes were sites of debate and social action. Once at the AA, they were enrolled in the same courses as their male counterparts, taught by respected architect–tutors and given the systematic architectural education that would enable them to practise professionally. Once in, they flourished, producing outstanding work and winning prizes. Nevertheless, they faced prejudice throughout their studies. Though he welcomed them, the AA's then director Robert Atkinson firmly believed that women were fitted by their nature and experience to design houses, interiors and decoration rather than large scale public and commercial projects. His point was reiterated in a letter to the AA Journal from "a student" who had written that women in the professions were harmful to the home and family life, as well as to the order of society itself. Ryle and Graves replied, strongly defending women's right to education, work and equality with intelligence and good humour, and arguing "that women's domestic role was in fact a recent invention of the Industrial Revolution and traditionally, women in addition to children and cooking, till the fields, tend the horses and cattle, act as beasts of burden, spin, weave, and build huts." Their key point was that: "With better education, the women of the present generation are awakening to what is happening. They have learnt that life without work is not life […] we are happy in being among the pioneers of women students at the AA." Close camaraderie and their sense of humor kept these women in pursuit of their goals. What happened when they completed their studies? Lowy and Graves both married and, as was the cultural expectation of the day, gave up professional aspirations. Irene Garforth, however, as she became an army wife (living in Burma, then Myanmar), did take the opportunity to design whenever she could – including a memorial to Ghurka soldiers in Maymo church (1927). Lowy married the publisher Victor Gollancz and supported his many ventures. Ryle and Cooke did practise, both embarking on what has become one of the most typical architectural formations of the 20th and 21st Centuries: the architect couple. Gillian Cooke had a long and successful professional career which she combined with marriage and children, and was elected in 1931 as the first FRIBA (Fellow of the Royal Institute of British Architects). Alongside her husband, Harry St. John Harrison, she specialized in domestic architecture. Winfred Ryle has the distinction of co-designing the first building designed by a woman from the AA – a village hall at Danehill, in the East Sussex countryside. This modest hall was designed with Eleanor K.D. Hughes, who joined Ryle's year at the AA in 1918. After her marriage, Ryle—now Maddock—and her husband ran their practice from a house which they designed and built as a home and architectural office. But it was Winifred Ryle's cousin who was to make the biggest impact on the profession. Elisabeth Scott joined the AA in 1920, and it was her winning design for the Shakespeare Memorial Theatre in Stratford (completed 1932, now the Royal Shakespeare Company) which was seen as a victory for all women and confirmation of their ability to design large scale public buildings. AA XX 100 connects a major exhibition, lectures, website, international conference and publications, including a collection of historical and critical writing about women from the AA. Find out more, here.
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| Schaer Headquarter / monovolume architecture + design Posted: 13 Nov 2017 07:00 PM PST  © Meraner Hauser
 © Meraner Hauser The company of the Dr. Schär AG is located in the southern part of the commercial area of Burgstall. Because of the steady growth of the company also the space requirement increases and therefore the existing administration block has been extended. Due to the limited base area the building was conceived on three floors.  Elevation  © Meraner Hauser The characteristic of the design of the new part of the building is the sophisticated, restrained and linear architecture. The glass facades create a new light and clear look of the building and also of the whole company. The sun protection is made of slanting glass falkes, it is aimed at a kind of double façade.  © Meraner Hauser The visible Attica panels of the ceiling are covered with white tiles, the flat roofs are designed as green roofs.  Section  © Meraner Hauser  This posting includes an audio/video/photo media file: Download Now |
| Skanska HQ Budapest / LAB5 architects Posted: 13 Nov 2017 06:00 PM PST  © Zsolt Batár
 © Zsolt Batár Text description provided by the architects. Skanska cares with high priority for the working environments of its team. Due to the company's philosophy, every colleague has the same access to the working surfaces, which literally means, every morning everyone can select any working station, up to what's the most convenient to his/her expected tasks of the day. Skanska implemented the activity-based model, enhancing communication, creativity, and co-working within the company. Helping the teamwork, everyone is sitting in the same space, but the way the furnishing and the layout are solved, there is no disturbingly over-sight of the total office area.  Floor Plan Guests arriving to the company don't meet direct panels of messages. They simply can feel themselves at home after the first step, finding an open coffee counter kitchenette waiting for them at the entrance. Thanks to the fact that Skanska's office will be in a building developed and built by Skanska, we show the original surfaces of the structure, the rough concrete ceiling becomes an elegant part of the interior. We don't build paravan walls to provide division in the space. We use tools of land-art and we plant little living forests in the interior.  © Zsolt Batár Skanska really believes in green and sustainable solutions and integrating plants islands into the design of the office is also a living proof for this. The heart of the office is the great meeting area, where all colleagues can sit down together at the gatherings held on a weekly basis, for discussions or presentations and even for creative talks. Outside those busy hours, these surfaces become flexible, non-traditional working areas. All elements having the same style and also hiding additional functions - the back of the pedestals is actually the copy room area, integrated into space.  © Zsolt Batár  This posting includes an audio/video/photo media file: Download Now |
| Posted: 13 Nov 2017 04:00 PM PST  © Ketsiree Wongwan
 © Ketsiree Wongwan Text description provided by the architects. NY House is 3 bedrooms house, which the significant requirement of the owner is level splitting. The direction and position of main stair and circulation become to be the first priority to design while space and form were not clarified yet. From the requirement, the first approach when entering in the house is the staircase that leads vision from the public space as the entrance hall, dining room, and open kitchen through to the private space as family room, master bedroom, and child bedroom respectively. The main common area of this house is the dining room where also can be the working place as well.  © Ketsiree Wongwan  Section A and B  © Ketsiree Wongwan The area is enclosed with the full height glass windows which are connecting to the L-shape terrace outside and make this become a semi-outdoor space on a good weather day. This common area has a double-height ceiling for opening space to the family room upstairs; which is also connecting to the outdoor terrace. Such open-through concept makes everyone in the house can see each other at all time. The skylight above the entrance hall allows the natural light into the main stair that leads to the master bedroom on the second floor and to the prayer room and child bedroom on the third floor. The master bedroom has own private stair as a duplex unit that the working area is on the lower floor (second floor) and the bedroom is on the upper floor (third floor).  © Ketsiree Wongwan The front of the house is facing to the South, and back is facing to the North that connected with the empty land belong to the owner's brother. So the house is focused to have the void in these two directions mainly to take the natural ventilation and lights into the house. There are cantilever fins and eaves to make a shade in the South elevation. In the West, elevation is quite solid to avoid the sunlight come through the house, in addition, the bedroom mass on the third floor juts out acting as a shade for the family room terrace. According to the circulation and space inside, the form of the house seems just like the white boxes overlay each other, while the level splitting is hiding inside elaborately.  © Ketsiree Wongwan  This posting includes an audio/video/photo media file: Download Now |
| Beyond House / Ben Callery Architects Posted: 13 Nov 2017 02:00 PM PST  © Peter Bennetts
 © Peter Bennetts Text description provided by the architects. With Beyond house we seek to stretch the boundaries of the typical terrace house. The existing heritage house was south-facing, dark, cold, narrow and overshadowed by neighbouring walls on both side boundaries. It's owners, a family of three, were detached from the world beyond.  © Peter Bennetts They are serious about sustainability and wanted the new addition to be naturally comfortable, using sun for heating, breezes for cooling, water harvesting, solar power, recycled materials (even re-using the old kitchen!) and integrating and indoor clothes airer. The owners had lived here for 10 years, and needing more space (and sun), had weighed up moving out but their physical and social connections in Northcote were too strong.  © Peter Bennetts So the view to Rucker's Hill, a geographic and social centre of Northcote, became a focus of the vistas from multiple rooms. Facing north, this view co-incides with getting sun deep into the Living rooms at the back of the house. We looked beyond the site constraints and beyond the typical spatial boundaries within a terrace house's rooms and levels. Through the insertion of central void, adjacent to a multi-purpose studio space that opens onto a roof deck, the occupants engage with the world beyond – the sun, breezes, sky and trees. Internal planters and many carefully placed openable external windows bring the external environment in from beyond. Internal windows allow rooms to be opened to share light, breezes and views across the void. These elements break down the barriers typically within and around a terrace house to create social connections between occupants unified by the flexible open spaces and visual connections to the sky, tree-tops and now visible Ruckers Hill community beyond.  © Peter Bennetts The form of the building is simple, one dramatic form rakes upwards from south to north to catch winter sun while minimising overshading on the back yards. Eaves would have contravened the heritage support so we adopted external operable louvres for sun control. The external envelope clad in simple colorbond and these louvres respond to the context of metal rooftops. The new roof deck becomes an oasis of colour amongst the dull metal and roof-mounted gadgets.  © Peter Bennetts Sustainability The owners of this house a family of three are serious about sustainability. They don't own a car, do all their commuting by bike with the occasional use of a flexicar and one of the parents works from home. The owners had lived here for 10 years, and needing more space had weighed up moving out but their physical and social connections in Northcote were too strong. We believe this is important for social sustainability- that buildings can evolve to allow communities to remain strong.  Diagram So the view to Rucker's Hill, a geographic and social centre of Northcote, became a focus of the vistas from multiple rooms. Facing north, this view co-incides with getting sun deep into the Living rooms at the back of the house. Their dedication to living with a low environmental impact is pervasive throughout the architecture from the high-tech active technology solar power on the roof to the low-tech indoor clothes airer hanging from the ceiling. These elements and others are all unashamedly integrated into the architecture.  Diagram Active technology includes Solar power and rain water collection for use in the laundry and toilets and grey water from the laundry available for re-use in the garden. Summer sun is controlled with adjustable external louvres that can be operated via automation or even remotely from the occupant's smart phone. Passive deign is a key consideration. The roof deck and central void allowing north sun to penetrate deep into the ground floor living rooms that usually isn't possible in a 6m wide terrace house with this orientation and neighbouring buildings on both sides. The sun hits the ground floor thermal mass in the form of an insulated slab on ground providing stable winter temperatures.  © Peter Bennetts Cross ventilation flows from south to north as the prevailing breezes can move through most rooms facilitated by openable internal & external windows and the central void. Landscape is brought into the house with recessed planter boxes softening the internal environment and helping indoor air quality and a visual connection with nature. The roof deck provides a space for productive garden previously unavailable in this south-facing block.  © Peter Bennetts Recycled materials from the old house include a window and the 8 year old kitchen that was carefully dismantled and reassembled with the addition of a few new key elements allow it to seamlessly insert into the new space.  © Peter Bennetts  This posting includes an audio/video/photo media file: Download Now |
| St Kilda Extension / Finnis Architects Posted: 13 Nov 2017 12:00 PM PST -retouched-web.jpg?1509967871 "© Les Hams") © Les Hams
.jpg?1509967841 "© Les Hams") © Les Hams Text description provided by the architects. Located in St-Kilda, one of Melbourne's most rapidly evolving suburbs, the St Kilda Extension is a modern addition which celebrates the home's traditional beauty whilst creating a tranquil retreat.  Ground Floor  1st Foor Plan Entering the property from the street, it was crucial to maintain the contextual relevance of the building as to not detach it from its immediate and broader surroundings. In this way, the humbleness of the entry is typical to its neighbouring houses as the classic terracotta roof tiles and red brickwork emulates the character of the street. .jpg?1509967861 "© Les Hams") © Les Hams What greets you on first entry into the home is a stark contrast as the contemporary interiors, designed in collaboration with Kylie D'alessandria from Huntress Interiors hint at the sleek modern nature toward the rear of the house. The distinction between what is old and new is gestured through the light hardwood floorboards which juxtapose the front entrance and transition to a darker polished concrete. This textural creativity marries with the dark finishes of the kitchen joinery and stone island benchtop. .jpg?1509967632 "© Les Hams") © Les Hams Perhaps the home's greatest achievement is its recognition of the existing house and its materiality which isn't lost but rather celebrated through the extension process. This is evident as the charm of the red brick seen on the façade is carried through to the backyard and creeps surprising elements into the interior living space, adding a certain charismatic layer to the house. .jpg?1509967851 "© Les Hams") © Les Hams The backyard is where this property truly established itself as a prime example of modern living. Contrasting bespoke materials, including the richness of the stained timber cladding and two lush vertical gardens, combine to produce the perfect hidden oasis. The full height glass panels and doors which line the pool area capture the tranquillity and calming atmosphere of the water and the light and airy nature of the white stone pool tiles. A seamless transition from the open plan kitchen and living area to the outdoor alfresco space is brought together through large cantilevered covers which appear to effortlessly float above the alfresco area. .jpg?1509967238 "© Les Hams") © Les Hams The environmental and heritage elements are effortlessly integrated into the home without feeling forced or faked whilst the individuality of the design from both the architects and interior designers is clear. The home is both a unique reflection of the owners through its personalised textures, materials and design choices, whilst actively creating brilliant entertaining spaces and a family home to live in for many years to come.  This posting includes an audio/video/photo media file: Download Now |
| Malek Residential Building / Piramun Architectural Office Posted: 13 Nov 2017 11:00 AM PST .jpg?1510197421 "© Hossein Farahani") © Hossein Farahani
.jpg?1510197401 "© Hossein Farahani") © Hossein Farahani Text description provided by the architects. The Malek apartment building is located in 'Malek' neighborhood in Isfahan, Iran, on a 303 m2 lot, of which the building occupies 180 m2 as its footprint. The project mandate was to incorporate six apartments within the 4-story height allowed by the city bylaws. After much studies and analysis of various options, as well as examining the limitations and setbacks, four apartments (90 m2 each) were placed on the first two floors, while two large units (180 m2) were designed on the upper two floors. .jpg?1510196167 "Section A") Section A .jpg?1510197144 "© Hossein Farahani") © Hossein Farahani Design Principles (Concept) .jpg?1510197189 "© Hossein Farahani") © Hossein Farahani The project aimed at improving the human interactions among the inhabitants. Therefore, a 'spectrum of domains', as opposed to the two strict 'private' and 'public' sections, was created, including 'cozy-with-family', 'private-with-friends', 'family private', and 'alone-private'. For example, any personal activity that does not necessarily need 'privacy' would best fit in a 'family private' space, such as recreational reading, sewing, playing, ironing, and the like. .jpg?1510197330 "© Hossein Farahani") © Hossein Farahani .jpg?1510196183 "Skins Forming Diagram") Skins Forming Diagram In this, the 'public' domain plays a central role as the organizing space, centering the 'private' domains, which reflects the role of 'family' at the heart of the home (as opposed to merely functional house). To materialize this idea, the living area in the third-floor apartment is designed at the center of the unit, while in the top unit it transfers into a cozy open space (courtyard), to bring in the sky into the living space. In both units, all other spaces are formed revolving around the central public space. In fact, organising living spaces around a core 'public' area is nothing new, and there is historical precedent for it in the traditional Iranian Housing typology in central Iran, where the layout of houses was formed like a Greek cross, the center of which was where the family gathered, and rooms located in each arm of the cross.  This posting includes an audio/video/photo media file: Download Now |
| Huangshan Mountain Village / MAD Architects Posted: 13 Nov 2017 09:00 AM PST  © Shu He
 © Laurian Ghinitoiu Text description provided by the architects. Huangshan, located near the ancient villages of Hongcun and Xidi in China's Anhui province, is home to one of the country's most beautiful mountains. Known for its rich verdant scenery and distinct granite peaks, the beloved landscape has long inspired artists, offering them sheltered spaces for contemplation and reflection. As a UNESCO Heritage Site, the humanistic atmosphere and beautiful, tranquil environment has become an increasingly popular tourist destination. It is here that MAD Architects, led by Ma Yansong, has realized "Huangshan Mountain Village".  Master Plan  © Laurian Ghinitoiu MAD's scheme is part of a larger tourism masterplan for Huangshan Taiping Lake. While providing the conveniences of modern living, the design affirms the significance of this culturally important mountain range. Composed in deference to the local topography, each of the buildings are diverse in height and appearance, and have been conceived to ensure that the original mountain levels are maintained. Organized in a link configuration across the southern slope of Taiping Lake, the dynamic relationship that is created among the ten buildings establishes a new type of village landscape: one where architecture becomes nature, and nature dissolves into architecture.  © Laurian Ghinitoiu The apartments that comprise "Huangshan Mountain Village" have all been envisioned as quiet retreats. Each one boasts an expansive balcony whose organic lines respond to the topographic contours of the immediate mountainous terrain. With their shape informed by the tea fields nearby, they appear as if they have been sculpted by wind and water, with no two the same. Extending the interior to the exterior, they provide plenty of outdoor space, giving residents the feeling that they are not just observers of the scenery that surrounds them, but actually immersed within it ─ creating a dialogue with the mountains, lake, and sky. Pathways have been determined by the landscape, so that they naturally meander through the trees and between the architecture, offering unique access to the treasured site.  Mountain Village Section "The impression we have of Taiping Lake in Huangshan is vague: each visit to this place yields different views, different impressions. It is a bit mysterious, like ancient Shanshui landscape paintings that are never based on realism, but rather, the imagination. This inexplicable feeling is always poetic; it is obscure and indistinct.  © Fernando Guerra Instinctively growing out of the mountainous landscape, the serene design sensibility of the village is reflected in its natural setting. It offers a new type of vertical living that while architecturally complimenting the surrounding forest, also enhances the levels of comfort and well-being of its inhabitants, establishing a synergy between humans, nature, and the local culture.  © Laurian Ghinitoiu In its completion, "Huangshan Mountain Village" is a true expression of Ma Yansong's "Shanshui City" philosophy. The intention has not been to create architecture that references forms of nature, such as mountains and water, but instead to establish a space where people can reconnect with nature on a spiritual level ─ to create architecture that evokes emotion and that embodies humanity's pursuit for inner fulfillment.  This posting includes an audio/video/photo media file: Download Now |
| Bisset Adams Wins RIBA Competition for New Library in Thamesmead, London Posted: 13 Nov 2017 08:00 AM PST  © Bisset Adams. Courtesy of RIBA Competitions The Royal Institute of British Architects has announced London-based firm Bisset Adams as the winners of the RIBA Competition to design a new state-of-the-art library and civic space in the southeast London suburb of Thamesmead. Selected from a shortlist that included Architecture 00, Adam Khan Architects, Keith Williams Architects and Reiulf Ramstad Arkitekter, the winning proposal was lauded for its flexibility and iconic design, as well as its connection to the adjacent Southmere Lake and surrounding neighborhood. The new facility will accommodate a contemporary library, learning space, and civic spaces such as health and wellbeing programs.  © Bisset Adams. Courtesy of RIBA Competitions "Bisset Adams is very passionate about libraries and the important role they play in community life. Having been designing innovative libraries for two decades we are delighted to be announced as the RIBA Competition winners for Southmere Village Library," commented Bisset Adams Director Iain Johnston. "It's a great opportunity to design a library at the heart of the Southmere Village regeneration project and extra special to have a site right on the edge of the lake." The architects describe their design as an inviting, playful series of spaces that can accommodate residents of all ages.  © Bisset Adams. Courtesy of RIBA Competitions  © Bisset Adams. Courtesy of RIBA Competitions "We wanted to create a design which tells a story about the lake and the environment. It's a truly sustainable structure constructed from CLT timber, which is left exposed to create a warm interior environment. We also wanted it to be fun. The concept was inspired by the swans nesting by the lakeside. We used the pattern of a swan's nest as a texture for the perforated cladding of the cantilevered upper box which faces out to the lake & created a bed of reeds for screening the children's library from the main space. We hope it will be a very special place to learn, browse and study. This is a project which is genuinely about collaboration: with the community; the library team; Peabody & the architects creating the vision for the masterplan. We are very excited to be part of this next chapter in Southmere Village."  © Bisset Adams. Courtesy of RIBA Competitions  © Bisset Adams. Courtesy of RIBA Competitions  © Bisset Adams. Courtesy of RIBA Competitions Bisset Adams will now work as part of the Southmere village design team, led by Proctor and Matthews architects, to finalize plans for the library and submit them for planning permission. They will work closely will the community to ensure all needs are met. The library is hoped to be completed as soon as Summer 2021. Learn more about the Southmere Village project, here. News via RIBA Competitions.  This posting includes an audio/video/photo media file: Download Now |
| Casa SarahMarc / Pe+Br+Re arquitectos Posted: 13 Nov 2017 07:00 AM PST  © Nico Saieh
 © Nico Saieh Text description provided by the architects. SarahMarc House is located on the outskirts of Puerto Varas. The owners' original request determines that the house should be a "magic box" that transforms daily living into travel and vacation days. The magic box must deliver a constant relaxation feeling.  Exploded isometric Located on top of a hill, the house has a privileged view of two active volcanoes, Osorno and Calbuco, whose last eruption was in 2015. These volcanoes determine a unique orientation of all the spaces towards the east, defining the west like a private facade facing the street.  © Nico Saieh Volumetrically speaking, an elongated prism is determined that gradually breaks the floor levels and ascends adapting to the ground, generating a semi buried space under the bedrooms that gives place for the parking lots and technical spaces.  © Nico Saieh  First floor plan  © Nico Saieh This house can be walked through, from the north, where the public use spaces are, towards the south where the private spaces are located, allowing a fluid use between the different enclosures. At both sides, the house ends with an elevated terrace with different points of view and heights of the surroundings.  © Nico Saieh Since the south of Chile has a strong presence of forests and wood is a very present and traditional building material in the area, it is chosen as an important material to use in the lining, structure and furniture. All these elements consider a contemporary language in its design and rescues the traditional carpentry of the zone. The native woods used are Oak, Ulmo, Mañio and Laurel.  © Nico Saieh  This posting includes an audio/video/photo media file: Download Now |
| K2S Architects Wins Competition to Replace Fire-Razed Church in Ylivieska, Finland Posted: 13 Nov 2017 06:00 AM PST  Winner - "Trinitas" / K2S Architects. Image © K2S Architects In March 2016, the central church of Ylivieska, Finland, was destroyed in a fiery blaze, an act of arson that leveled the 18th-century wooden structure into a pile of ash. Now, the community is set to start fresh with a brand new church designed by K2S Architects, after the Finnish firm was selected as the winners of a competition for the new Ylivieska Church. Selected from a pool of 214 proposals, K2S' design, "Trinitas," was named the winner ahead of finalist entries from AOR Architects; OOPEAA; Benjamin Aspelin, Stian Vestly Holte and Simon Schumacher; Pauli Terho; APRT Architects; and Benjamin Schulman. The competition asked architects to design a structure that could serve the function of the former church building while creating a contemporary structure that responded to its context in a new way. "In its basic form, the proposals were roughly divided into five types: cross-churches inspired by the old church; triangular floor plans resembling Ylivieska's coat-of-arms; square or stretched rectangular footprints; various symbols; and inspired/free-form," the jury noted in their citation. "The most successful were the proposals for a new building that made a clear, coherent figure that was tall enough in relation to its environment to be able to create a new urban focal point." K2S' design was selected unanimously by the jury. The architects will now continue working with the Ylivieska Parish to plan for future realization. 1st Place - 30.000 € Prize"Trinitas" / K2S Architects  Winner - "Trinitas" / K2S Architects. Image © K2S Architects  Winner - "Trinitas" / K2S Architects. Image © K2S Architects  Winner - "Trinitas" / K2S Architects. Image © K2S Architects  Winner - "Trinitas" / K2S Architects. Image © K2S Architects 3rd Place (Tie) - 12.000 € Prize"Silta (Bridge)" / AOR Architects  3rd Prize (Tie) - "Silta (Bridge)" / AOR Architects. Image © Aarti Ollila Ristola Architects (AOR) "Kooda 2" / OOPEAA  3rd Prize (Tie) - "Kooda 2" / OOPEAA. Image © Anssi Lassila / OOPEAA OFFICE FOR PERIPHERAL ARCHITECTURE Honorable Mentions - 7,000 € Prize"Emilia" / Benjamin Aspelin, Stian Vestly Holte, Simon Schumacher  Honorable Mention - "Emilia" / Benjamin Aspelin, Stian Vestly Holte, Simon Schumacher. Image © Benjamin Aspelin, Stian Vestly Holte, Simon Schumacher "Trias" / Pauli Terho  Honorable Mention - "Trias" / Pauli Terho. Image © Pauli Terho "Ristit (Crosses)" / APRT Architects  Honorable Mention - "Ristit (Crosses)" / APRT Architects. Image © APRT Architects Citation"Mina Olen Tie (I Am The Way)" / Benjamin Schulman  Citation - "Mina Olen Tie (I Am The Way)" / Benjamin Schulman. Image © Benjamin Schulman News via Ylivieska Parish.  This posting includes an audio/video/photo media file: Download Now |
| Offices and housing Strasbourg / Dominique Coulon & associés Posted: 13 Nov 2017 05:00 AM PST  © Eugeni Pons
 © Eugeni Pons Text description provided by the architects. This small tower has been built in the historic Krutenau district in Strasbourg. The city has a number of "hollow teeth" – vacant plots that are too small to be of interest to promoters. In exchange for an attractive price, the consultation called for the production of an exemplary building guaranteeing the achievement of high energy performances, the use of bio-sourced materials, and a mixed-purpose project.  Diagram  Plans On a plot measuring just 120 square metres, we proposed a programme of offices and accommodation, with a kitchen garden and an organic swimming pool on the topmost terrace.  © Eugeni Pons The skin is in scorched wood (larch), a technique often utilised in Japan that makes the material long-lasting by scorching its outer surface. The facade masks the interconnection of the programmes. The openings in the walls appear to be random, not corresponding to any functional requirements, and their different sizes make it difficult to distinguish the different levels of the building. This is contained freedom. Towards the top, a volume of rough concrete pivots through 10°, appearing to detach itself from the black mass of the wood base and producing a dynamic corner.  © Eugeni Pons The orange and silver-coloured projecting blinds add a touch of colour to the strange outline of this dark building. The building is generous with the street. Large bay windows offer views into the scale-model workshop, which is slightly below street level, so that the activity of an architect's office can be seen. This transparency is often seen in Scandinavian countries, where people place their most attractive belongings next to a window, as if offering them to the street outside.  © Eugeni Pons Like Loos' Raumplan, the spaces interconnect in a complex fashion, with double heights lending fluidity to the whole. The spacing between the different floors differs according to the spaces, giving them their proper proportions.  © Eugeni Pons On the inside, the materials used are sturdy and rustic. The concrete floors have merely been polished. Shelving and cupboards are in wood; the staircase is in untreated metal.  © David Romero-Uzeda The building appears to play with the contradictions in the situation, condensing its complexity and offering a joyful rendition.  © Eugeni Pons  This posting includes an audio/video/photo media file: Download Now |
| CEMEX Announces International Winners In Their 2017 Building Awards Posted: 13 Nov 2017 04:00 AM PST  Cortesía de CEMEX The CEMEX Building Award recognizes the best projects in Mexico and the rest of the world that use concrete in a creative and innovative way, with a focus on sustainability and social welfare. This year, the award received 70 entries in the 5 categories and 4 special awards of its International Edition. Germany, Columbia, Costa Rica, the United Arab Emirates, Spain, the United States of America, France, Guatemala, Haiti, Latvia, Nicaragua, Panama, Poland, Puerto Rico, Czech Republic, Dominican Republic, and of course, Mexico were the countries that participated in the Awards. The ceremony was held on November 9th in Mexico City. The winners were: International Edition Winners by CategoryResidential Housing Cortesía de CEMEX Concretus House / Singular Estudio  Cortesía de CEMEX Acolhúas House / SPRB Arquitectos  Cortesía de CEMEX Casa C17 / Balmor Pereira + XXStudio Affordable Housing Cortesía de CEMEX Norte Club / Luis Ardila + Jesús Moreno Building Cortesía de CEMEX Torre Reforma / LBR + A  Cortesía de CEMEX San José School Preschool Building / Taller de Arquitectura de Bogotá  Cortesía de CEMEX Vitrolles Médiathèque / Jean-Pierre Lott Architecte Collective Space Cortesía de CEMEX Archeopark Pavlov / Radko Kvet, Pavel Pijacek, Architektonicka kancelar  Cortesía de CEMEX Teotitlán del Valle Cultural Center / PRODUCTORA  Cortesía de CEMEX Park "Intercambiador Vial Av. Quebrada Seca- Carrera 15" / Javier Vera Infrastructure Cortesía de CEMEX Tunnel under the Vistula River  Cortesía de CEMEX Chucás Hydroelectric Dam Project  Cortesía de CEMEX Tuxpan Port Terminal Special AwardsSocial Value Cortesía de CEMEX Vitrolles Médiathèque / Jean-Pierre Lott Architecte Sustainable Building Cortesía de CEMEX Golden 1 Center / AECOM + Mark Dziewulski Construction Innovation Cortesía de CEMEX Oaxaca Historical Archive Building / Mendaro Arquitectos Accessibility Cortesía de CEMEX Torre Reforma / LBR + A During the ceremony, the Arquitecto Marcelo Zambrano Scholarship was awarded to Paola López, who will study a Masters in Landscape Architecture in the Universidad Politécnica de Catalunya, in Barcelona, Spain. Also present was Tania Osorio, to whom the Scholarship's Council decided to grant special support for her Masters in History, Theory and Society of Architecture in Berkeley, University of California. The event came to an end after announcing the recipient of the Lorenzo H. Zambrano Award, which pays homage to an outstanding professional in the fields of architecture and construction, whose work and passion have left a mark in history. The winner of the award was Mexican architect and landscaper Mario Schjetnan Garduño, for his trajectory in the field of architecture through the creation of public spaces with a sense of sustainability, social responsibility and environmental responsibility.  This posting includes an audio/video/photo media file: Download Now |
| Residential Complex on Zeeburger Island / Studioninedot Posted: 13 Nov 2017 03:00 AM PST  © Peter Cuypers
 © Peter Cuypers Text description provided by the architects. On the northern tip of the rapidly developing Zeeburger Island in Amsterdam Studioninedots, commissioned by de Alliantie and Lingotto, designed two striking volumes. Due to their stepped profiles and changing facade rhythms they appear different depending on the viewing angle. All 142 residences plus the shared outdoor spaces on the deck are orientated towards the magnificent views.  © Peter Cuypers Studioninedots recognises a growing need for better collective and public spaces for cities, which are densifying at an increasing rate. On the site where the rapidly developing Zeeburger Island meets the calm of the water and the low, clouded skies, the practice conceived a spatial intervention that functions as a catalyst for meeting and connection between residents. Instead of a massive block, the design houses the required functions in two slender, high buildings resting atop a shared, semi-underground car park. This creates a roof deck between the buildings for shared use, and the building's open profile frames wide views of the Buiten-IJ for the neighbourhood to enjoy.  Diagram 01  Diagram 02  Diagram 03  Diagram 04 Both complexes become narrower towards the top. The volumes step up and recede every few storeys in response to surrounding buildings. This reduces the amount of apartments per floor, which creates setbacks that are used for private outdoor spaces and green roofs. Fronting all sides, the buildings feature two alternating facade rhythms – with either compact or wider windows – which step accordingly.  © Peter Cuypers The buildings have a compact structure organised around a core that contains all the apartments' functional spaces. The living rooms and bedrooms are then positioned on the perimeter to maximise views. This quality of space is accessible for every resident regardless of whether the apartment is allocated for private or social housing. The lower building ('De Generaal') contains affordable rental apartments; residents in the higher tower ('Akropolis') are aged 55+ and members of a residential community. Throughout the buildings, shared facilities are provided for both the association and neighbourhood.  © Peter Cuypers  Section  This posting includes an audio/video/photo media file: Download Now |
| How to Use “Structured Procrastination” to Get the Best Out of Your Bad Habits Posted: 13 Nov 2017 01:30 AM PST  © Andrea Vasquez In a hilarious TED talk by world-famous blogger Tim Urban, the procrastinating brain is explained using three squiggly characters: Rational Decision Maker, Instant Gratification Monkey, and Panic Monster. For most of us who procrastinate without fail, the Monkey dominates while the Decision Maker suffers. Panic Monster enters the moment a deadline looms dangerously close—and that's when all the actual work is done, amid much grumbling, self-loathing and lofty promises of never procrastinating again. But of course, we fail to keep our promises and the wheel keeps turning! While the internet is full of lists and guides on how to stop procrastinating, for quite a lot of people, those somehow just don't help at all. And while deadlines, as Urban points out, work for some in terms of getting the work done sooner or later, "long-term procrastination" affects those who must set their own deadlines—think business owners, PhD students, or freelancers. So, how do you get yourself to stop? You don't! What you need to master is John Perry's concept of "structured procrastination"—the same concept that Piers Steel earlier explained as "productive procrastination." Read on for some advice gleaned from pro-procrastination literature. 1. A Is for Acceptance © Andrea Vasquez Most "self-improvement" guides start with this big word, don't they? Simply begin by accepting that it's never about not having enough time, or about other people and things distracting you, it's about your own habit of putting things off until later. But instead of identifying it as some moral dilemma, hellish curse, or brain disease, tell yourself that it is anything but. Let's not forget that some of the most famous people in history were chronic procrastinators—that's not to say that procrastination is some telltale mark of genius, just that it's something quite human! 2. Make a ListMaking lists is, in itself, one the guilty pleasures that procrastinators indulge in to feel good about themselves. And if you're reading this, chances are that you're probably already a pro at making lists (and not following them). That usually happens when you begin and end with urgent, daunting tasks only. The key is to mix the Tasks-That-Must-Not-Be-Named with those that are less urgent and equally important, but also easier, quicker or more fun to accomplish. 3. Break That One, Fat, Giant Task Into Smaller Ones © Andrea Vasquez More often than not, a big task is made up of numerous smaller ones, and sometimes, all of these require varying amounts of time and energy. For instance, a task like making a scaled model of the latest project you're working on can be broken down into sub-tasks like "prepare files for laser cutting," "arrange and assemble," and "add final touches." Not only would you accomplish things bit by bit, but you'd also be able to tick lots of things off quickly—hello instant gratification! And not to forget, the longer your list, the more "choices" you've got in terms of what to tackle first. 4. "Un-Icky the Item"Similar to breaking down a task is what Urban refers to as "un-ickying the task"—that is, making sure that any tasks listed aren't "vague and murky." Take for example the task "site-hunting for thesis": how would you go site hunting if you don't even know what you're looking for, haven't already done some research, identified your requirements, and shortlisted some possible options? Driving aimlessly all over the city is not an option, and neither is flying over Google maps! 5. Don't Ignore Errands, Social Commitments, Exercise Routines © Andrea Vasquez Who says preparing meals, calling your family, or meeting friends has to be ignored when you have work to do? According to Dr. Perry, canceling on social commitments is actually detrimental for a procrastinator because that's when the list becomes smaller, stress builds up, and nothing acts as a "breather" during the day. Apart from being the usual procrastinator and not accomplishing tasks you were supposed to accomplish, you also end up not meeting people you were supposed to have been otherwise meeting, so it's a lose-lose situation. Similarly, you should keep everyday errands as part of your list of things to do—spending half an hour walking your dog, meditating, organizing your cupboard, or cleaning might just act as de-stressors instead of the opposite. 6. Listen to Your Brain © Andrea Vasquez Listen to your brain when it says it's bored, or exhausted. Maybe you'd want to move on to another more interesting task, or just take a quick break. But while it's better to tackle the stuff you find fun or interesting when you feel like it, it obviously doesn't mean that you flit from one to the other without completing anything. Once you start something, just make sure you finish it. And what if you end up checking off all the relatively exciting things first and are left with actual work? Well, so be it. You had to get down to it sooner or later. Just remember, as long as you stick to the list, you're safe! For more on the peculiar phenomenon of procrastination, read Adam Grant's advice for "pre-crastinators" and how it actually helps creativity, or Dr. Perry's book titled The Art of Procrastination: A Guide to Effective Dawdling, Lollygagging and Postponing. For those who still feel that purging themselves of the procrastination monster is the only key to success, check out our previous article on the topic:
Images for this article were kindly provided by Andrea Vasquez.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 13 Nov 2017 01:00 AM PST  © Marcos Betanzos
 © Marcos Betanzos Text description provided by the architects. A house is probably the first thing that a human being relates to the feeling of ownership. In our childhood we used to eat, play and dream inside of it, we used to hang with our family there, sharing feelings and thoughts that made us call this place "home". To keep alive all of this experiences is one of the main points to maintain the functional side and take benefit of the structural foundation; as well as propose different elements to create new environments inside the house to create unforgettable memories. Located in the State of Mexico, in a growing urban side of the outskirts of Texcoco, Casa Texcoco takes place. The project consists of the renovation of a house where a whole family lives.  © Marcos Betanzos The construction is based on a two-level structure. The public area is on the ground floor and the first level is for the private area; both spaces maintained their functionality in the project. As well as a cube in the façade that brings uniqueness to the construction since it was built. The project merges itself with the environment in different forms, such with a lattice that allows light and air flow freely and works as a connection between the inside and the outside. Other important assets are two subtractions in the facet, the first one is a window that frames the landscape, and the second one allows the growth of the already existent nature. A sort of small modifications was made inside the house, changing materials and furniture to create more than one atmosphere. The use of white coats, simple wooden elements, and polished concrete helped through the renovation to generate the perfect environments for each area.  © Marcos Betanzos  Lower Floor Plan  © Marcos Betanzos The size of the existent subtractions was increased to obtain more ventilation, lightness, and amplitude. The whole project was thought as a time element, being the light dissection one of the most important concepts for it. The lattice, the dome, and the different subtractions make that the lighting entrance creates a spectacular shadow show to admire through the entire day. The sky fuses with the walls by painting them on a light blue color, playing with a geometric shadow that delicate the edges of the house. With all these assets, Casa Texcoco becomes a place to have moments of peace on a modern environment.  © Marcos Betanzos  Axonometric  © Marcos Betanzos  This posting includes an audio/video/photo media file: Download Now |
| The Simpsons’ Home As It Would Look In 8 Popular Architectural Styles Posted: 13 Nov 2017 12:00 AM PST
What better way to demonstrate America's diverse architectural styles than through the country's most infamous family — The Simpsons? The Simpson family residence is instantly familiar to all, yet their dwelling could have been completely different if they'd embraced one of these popular housing styles. 1. Tudor © Courtesy of HomeAdvisor Tudor housing is perhaps one of the most recognizable architectural styles. Characterized by slanted timber beams decorating the front-facing portion of the roofing, this style often contains small groups of tall, narrow, and multi-paned windows for lots of natural light. Did you know? Tudor homes are popular in the Midwest, Northwest, and East Coast because their steeply pitched roofs can endure heavy rain and snow.1 2. Colonial © Courtesy of HomeAdvisor American colonial architecture is a throwback to the period in U.S. history when settlers were colonizing the continent. This style, found in both urban and rural settings, is characterized by square floorplans, symmetry, and straight rows of windows on the first and second floors. Did you know? Nearly 400 years after it became popular, the colonial style still makes up the majority of housing stock in the U.S.2 3. Log Cabin © Courtesy of HomeAdvisor The roomy, light-filled log homes we find today aren't quite the log cabins of the 1800s. Traditional frontier-style log homes were rectangular, contained only one room, and had at least one glass window. They were built to be sturdy and inexpensive. More contemporary takes on this style often feature grand porches, numerous windows to let in natural light, and a larger footprint. Did you know? In places where timber was readily available, log cabins could be built in just a few days using a few simple tools—and no nails.3,4 4. Victorian © Courtesy of HomeAdvisor Blending several styles that were popular in the second half of the 19th century, Victorian housing is certainly not subtle. It's based on grand designs, often distributed over several stories. Common in the suburbs of New York and San Francisco, Victorian architecture features lots of brackets, spindles, and scrollwork and remains one of the most striking styles in the country. Did you know? The liberal application of decorative flourishes to Victorian homes is a direct result of mass-production making ornamental pieces more affordable.5 5. Cape Cod © Courtesy of HomeAdvisor Cape Cod housing, which is associated with the New England region of the same name, is one of the most beloved styles in the country. Designed to cope with the frequently grisly weather conditions in the area, Cape Cod houses occupy a single-story and are dominated by moderately steep, durable roofs that can handle heavy snowfall. The rectangular footprint makes it relatively easy to expand to accommodate growing families. Did you know? These houses were designed for simple construction and efficient heating, so you'll rarely find a porch or decorative elements on Cape Cod-style homes.6 6. Mediterranean © Courtesy of HomeAdvisor Designed with stucco walls and shallow, red-tiled roofing, Mediterranean architecture is a blend of Spanish, Italian, and Portuguese building styles. These homes often boast prominent arches alongside details like heavy wooden doors and ornate carvings. Featuring large windows, verandas, and balconies, it's the ideal dwelling for those in warm, southern climates. Did you know? When used in the warm, dry climates they were intended for, the signature clay roof tiles used on Mediterranean homes can last for a century or more!7 7. Art Deco © Courtesy of HomeAdvisor Art deco signaled the beginning of modernity in architecture. Originally from France, the style features flat roofs, smooth stucco walls, and often bold exterior decorations like zigzags, swans, lilies, and sunrise motifs. The Chrysler Building in New York is one of the most famous examples of art deco architecture, but the style can also be found throughout Miami's South Beach area. Did you know? This style was mostly used for office buildings, so it's rare to find an art deco home with a yard and a garage.8 8. Contemporary © Courtesy of HomeAdvisor Bringing much-needed warmth to the modern designs of the mid-20th century, contemporary homes emphasize spaciousness, sustainability, and regional character. You'll often find simple, rustic materials, large windows and skylights, and perhaps even a living roof of green plants. Did you know? Contemporary homes focus heavily on nature and eco-friendly building principles, often using recycled materials and designs that connect the indoors and outdoors.9 Sources
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| Prefab Pop-Up Shelter Designed for Burning Man and Perfected for Disaster Relief Posted: 12 Nov 2017 10:00 PM PST .jpg?1510247252 "via Advanced Shelter Systems") via Advanced Shelter Systems Christian Weber, a 20-plus year veteran of the Burning Man festival has learned a few tricks on the Playa. Shelter from the harsh Black Rock Desert winds, heat, dust and cold nights are attributes of an experienced camp. "Every year we unload our camp out of the container and use our container as our kitchen. It literally has fold-down tables [and] air conditioning… and when we're all done, we throw it back in the container and it's ready to go for next year."  via Advanced Shelter Systems Taking cues from the hexayurts that pop-up across the various camps at Burning Man, Weber evolved the concept to be easy-to-construct, and transportable. With the strike of innovation that comes only in the middle of the night, Weber pulled out an origami book and drew up what is now the Shiftpod. Weighing in at 64 pounds the Shiftpod compacts to 77"x13"x13" and can be assembled in minutes. In 2015 Weber returned from Burning Man to find devastating fires in Northern California, which destroyed more than 2,000 buildings and killed four people. His immediate response was to head back to Burning Man to pick-up 20 Shiftpods to donate to relief efforts. Some red-tape and bureaucracy later, Weber learned his process to disaster relief would need to be formalized and refined. Christian Weber launched Advanced Shelter Systems Inc. (ASSI) in December 2015. Since its opening, it has donated one Shiftpod for every 20 sold. Inspired by the greater need, (beyond tents at festivals, which is still a huge market for the Shiftpod), ASSI has designed a Responsepod and Shelterpod. "Our goal is to set up kits for individuals to take with them that have a shelter, water filtration, and everything you need for a family of four to survive for 30 days," Weber says. "And to build systems for up to 1,600 people [that can be stored] in one container." Read more about Christian Webers' Shiftpods, rescue shelters, and plans of how to make the largest impact while maintaining profits in Daniel Trediman's article, How a Burningman Camp Project Became a Multimillion-Dollar Business.  This posting includes an audio/video/photo media file: Download Now |
| Architecture Is Moving Into a Realm Where History Plays as Much a Part as Medium Posted: 12 Nov 2017 09:30 PM PST  Detail: Träbågen (unrealized). Image © Space Popular In this essay British architect and academic Dr. Timothy Brittain-Catlin presents the work of Space Popular, an emerging practice exploring the meaning of and methods behind deploying virtual reality techniques in the architectural design process. Architectural practice, especially in the UK, is moving fast into a realm where history plays as much a part as medium. But the ways in which architects work have been transformed entirely from those of the past, generating a fundamental conflict: how in practice does design through virtual reality use history? In the earliest days of fly-throughs we all realised that we could show our work to clients in a way that even the least plan-literate could understand. We could develop details three-dimensionally and from different angles, even representing different times of day. But what next? How do we engage historical knowledge and experience of buildings? This was the question that launched Space Popular, a London-based practice established by Architectural Association (AA) graduates Fredrik Hellberg and Lara Lesmes in 2013. They spend their time differently from most young architects; they don't, for example, design small objects, although their studio sports one of the fine mint-green steel chairs they produced for the Infinity Spa in Bangkok in 2015, their best known completed project to date. Like many others of their generation (and before and since), they have entered a large number of competitions. But what has marked out their work so far is the remarkable way in which they have confronted the challenges and potential of virtual reality in architecture head on – to make something new from it that represents the layering of experiences that many architects seek.  Infinity Spa, Bangkok (2015). Image © Space Popular  Infinity Spa, Bangkok (2015). Image © Space Popular
Lesmes explains it like this: architecture can be experienced entirely separately from the problem solving that goes on behind the scenes. Virtual reality to date has tended to follow a simple pattern: you design the building in one form or another, according to the parameters thrown up by the situation, and then you create the virtual reality to demonstrate, perhaps refine, the results. But, Lesmes says, you can also start from the experience and work backwards to the building. This is the one thing you couldn't really do before, at any rate not to the same extent; and this is the aspect of it that Space Popular is now developing.  Infinity Spa, Bangkok (2015). Image © Space Popular  Infinity Spa, Bangkok (2015). Image © Space Popular The Glass Chain, an exhibition at Sto Werkstatt in London's Clerkenwell, demonstrates where they are going with this. Its centrepiece is a tall screen faced with StoVentec glass – that is, a toughened glass panel printed with coloured ceramic inks and fixed over insulation to a carrier board. The whole of one face of the panel, about three metres high, has been decorated in a riotous collage of architectural forms in vivid colours that includes towers, stairs, arcades, rusticated blocks, and crystalline forms in somewhat gothic forms – dogtooth mouldings and the like. The scale, says Hellberg, is about 1:100. That means that it represents a building about 300 metres high. Of course the StoVentec panel is flat, although it has a luxuriant sparkle to it. But at special events held at the exhibition, visitors can don HTC headsets and see a three-dimensional representation of it: the flat steps suddenly pop backwards to form an auditorium buried within the wall, for example. (It is interesting to note that Hellberg comes from a craft background, as the founder and director of YNG, the Swedish Society for Crafts and Design, and has never seen architectural ornament as a 'flat' thing.)  Träbågen (unrealized). Image © Space Popular  Träbågen (unrealized). Image © Space Popular The point of this is that the virtual building seen with the VR headset is therefore as real an experience as the glass panel you can touch. And there are other aspects too, notably the fact that these installations are time-dependent. Space Popular are perhaps best known for their vibrant printed cotton wall hangings: a huge one hung from the centre of the Florence Hall at the Royal Institute of British Architects (RIBA) in London earlier this year. These too are highly detailed, made up from architectural elements. In fact, a set made for the Architectural Association's (AA) Christmas Party last year was composed of elements from the facades of the school's premises in Bedford Square. Part of the point of them was that they were to be seen and associated with a specific occasion, and that much of the symbolism of the details in these sheets (which were wrapped around columns to form a kind of hypostyle) was related to that moment only. It comes as no surprise therefore that Space Popular have designed and made kimonos that are to be worn for specific occasions; then—as Lesmes says—the people who experience these artefacts associate them afterwards with that event, adding to the experience of them and, in turn, their significance. They presented an early installation like this in 2014 as part of Amy Croft and Adam Nathaniel Furman's Re.presence: How to See Architecture exhibition: Furman is his architectural 'godfather', Hellberg has said.  Örebro (unrealized). Image © Space Popular  Örebro (unrealized). Image © Space Popular In fact, Hellberg and Lesmes explain that the origins of many of these ideas came from their friends at the AA. Hellberg's fourth-year unit master was Oliver Domeisen, who introduced them specifically to the work of Gottfried Semper, an architect never usually mentioned in British architectural education because of the dominance there of the gothic revival. The traditional critique of Semper is of his distinction between the structural and the non-structural. But Domeisen saw that once the designer is liberated altogether from the notion of the structural—those practical parameters behind every conventional scheme—then it becomes possible to explore Semper's ideas about the ornamented construction of surfaces in a much freer way. The 19th Century ideas that interested Domeisen were echoed in the history courses that Hellberg attended: I was one of the lecturers, but the other was Benny O'Looney, who is fondly remembered by students everywhere for his knowledge of and enthusiasm for London buildings. These things together gave us the language to talk about and develop the imagery in our own designs, says Hellberg: the historical elements meant something and were not just a string of anecdotes.  Hilma af Klint Museum (unrealized). Image © Space Popular The historical elements that Space Popular have adopted are fundamental to their whole approach. Lesmes concludes our conversation by saying: "We study things that happen in the past. We draw something and redraw it, and it becomes something new." Which is, of course, a message that Gottfried Semper would have approved of. The Glass Chain is on display at Sto Werkstatt (London) until December 15, 2017.
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