Arch Daily |
- Victoria Beer Factory in Malaga / GANA Arquitectura
- Villa Castro / Architecture Project + Jens Bruenslow
- Tehran Book Garden / Design Core [4s] Architects & Urban Designers
- Beijing ‘Tsuo’ / Wonder Architects
- Yosukwon / Spaceprime architecture
- Skewed House / Atelier Riri
- Ocean Terminal Extension / Foster + Partners
- 2018 Istanbul Design Biennial, "A School of Schools", Launches Open Call
- Gravity Tower / Plus Architecture
- Discover The Red Square Through the Lens of Maria Gonzalez
- Studio House CHOI / Cubo Rojo Arquitectura
- Why Architectural Models Are Crucial in Making Bamboo Projects a Reality
- Hungry Man Productions / FreelandBuck
- MVRDV Clad Flexible, Mixed-Use Munich Building in Giant German Slang Words
- N House / DZL Architects
- Hate Contemporary Architecture? Blame Economics, Not Architects
- Social Housing /Atelier du Pont
- Techniques For Landing A Job At The World's Most Competitive Architecture Firms
- Kitchens that Double As Dining Rooms: Architectural Design Inspiration
- Hotel Bühelwirt / Pedevilla Architects
| Victoria Beer Factory in Malaga / GANA Arquitectura Posted: 22 Nov 2017 09:00 PM PST  © Fernando Alda
 © Fernando Alda Text description provided by the architects. When an amazing brand like Victoria decides to come back to its city, location becomes the first thing to carefully analyze in order to achieve the dream of giving back to Malaga citizen their traditional beer. Thus, this factory is located between two of the main roads of the city, as its new entrance milestone, while ensuring a proper industrial functionality and allowing trucks flow in a very easy way. In order to build over the remaining structure of the former factory located there, a sustainable way of working was required, by combining their needs with the existing elements where urban planning and construction security become fundamental. However, this factory means to Malaga much more than the industrial revitalization described.  © Fernando Alda  Ground Floor Plan  © Fernando Alda This building has been an invitation from this local brand to its neighbors, in order to let them be part of its history, its productive activity, and logistics while offering this city a new cultural spot. That's the reason why the design of its enclosure has been so important and special, creating a solid building whose white facades enhance its industrial soul and structure, and a main front facade completely made of glass that allows the building not just to take advantage of the signature light of this area, called 'Costa del Sol', but also introduce an innovative approach to the traditional and hermetic architecture of factories. This creates an interesting dialogue between glass-made north facades and opaques elements made of 'in situ' sandwich panels that protect the building from harder solar orientations.  © Fernando Alda A very respectful and sustainable exercise of design that fosters functionality and maximizes comfort among its users. A quite complex functionality that contrasts with its volumes simplicity, coordinating different areas and services like the tours guided by the brand through its multifunctional entrance hall; a tasting area; the commercial offices of this new headquarters of 'Cerveza Victoria' in Malaga; the brewery; the filling, beer drive and packaging area; and also the storage and logistics area, with the whole offices and functions related and required by this warehouse. As a conclusion, this building homes an accurate relation of visually connected spaces, where light and guests become the main characters of the project.  © Fernando Alda  This posting includes an audio/video/photo media file: Download Now |
| Villa Castro / Architecture Project + Jens Bruenslow Posted: 22 Nov 2017 07:00 PM PST .jpg?1511345825 "© Alex Attard") © Alex Attard
.jpg?1511345798 "© Alex Attard") © Alex Attard Text description provided by the architects. Villa Castro is located in the town of Naxxar, in the center of the island of Malta. Its location on the perimeter of an Urban Conservation Area has led to drastic modification of the original setting of the villa, recent building developments destroying irreversibly its original context. The project programme was organized around the needs of a family and guestrooms to accommodate relatives and friends. The garden, as well as the two internal courtyards, were preserved and, following an unsuccessful attempt at acquiring the remaining portion of the garden immediately adjacent to the existing one, an extension was designed and grafted on the boundary wall to mitigate the negative visual impact of the recent neighboring block of apartments. .jpg?1511345850 "© Alex Attard") © Alex Attard The restoration element of the project entailed the securing of dangerous parts, the removal of inserted structures and accretions which conflicted with the authentic organisation of space or with the clarity of architectural form, the reopening of blocked arches and the introduction of a few additional openings to allow firstly for more light into the building and, secondly, to strengthen the already well defined symmetry of the garden and courtyard facades. The same principle guided the organization of the external areas. The existing spaces were organized accordingly to the needs of the clients, leaving the ground floor for living, play and entertainment while dedicating the upper entirely to individual bedrooms. Since the depth of the old annex structures is very narrow and rooms typically distributed in an 'enfilade' arrangement, an external access balcony was added replacing an existing open balcony.  © Julian Vassallo Moreover, a new stairwell designed in a contemporary language was introduced in an existing backyard to link the long string of rooms aligned along the perimeter, as well as to create space for another bedroom above it. A new extension was built with just enough thickness to house guest quarters that tower over the garden and screen off the new development while closing off the composition of the garden and defining its end facade. They are lifted over the ground on slender columns in order not to obstruct the cornices and pilasters and the pediment of the gate which once led to the garden beyond. All new extensions were conceived as simple volumes and are defined and positioned to compliment, and coexist with the existing building. .jpg?1511345942 "© Alex Attard") © Alex Attard  Ground Floor Plan .jpg?1511345895 "© Alex Attard") © Alex Attard They are treated in such a way as to allow maximum light on the inside while retaining a monolithic appearance from the outside in sympathy with the old building. Although almost entirely glazed, this is achieved by means of a dense wooden screen, creating a composition based on the contrast of materiality. The screens are made from American cedar, which will, over time, acquire a natural protective patina of silvery grey that blends in with the limestone surfaces of the old house. Like all projects that involve the rehabilitation and extension of old structures, time is an important element of the composition of which the building is made, and that will unravel with time. .jpg?1511346059 "© Alex Attard") © Alex Attard  Section A .jpg?1511345775 "© Alex Attard") © Alex Attard  This posting includes an audio/video/photo media file: Download Now |
| Tehran Book Garden / Design Core [4s] Architects & Urban Designers Posted: 22 Nov 2017 06:00 PM PST  © Mohammad Shah Hosseini
 © Mohammad Shah Hosseini Text description provided by the architects. Creating permanent spaces for exhibiting books can have a quantitative effect on society's approach to book reading. Tehran Book Garden is designed and constructed to play this role. Book Garden is located in Tehran's third district on a site measuring 37acres in Abbas Abbad region, close to other important buildings including the Iranian National Library, the Iranian Academies Complex the holy Defense Garden Museum and Tabiat Bridge. Book Garden is a Book Mega Mall which hosts, Exhibition spaces focusing on exhibiting books and other sorts of media, Children Science Park, Art Galleries, a Drama Theater, Cinemas and Auditoriums, cafes and restaurants as well as other outdoor event spaces. The Building has a total built area of 65000 m2 in 3 floors and a 25000 m2 roof garden, is comprised of 13 separate blocks which are partly similar and are connected through vertical and horizontal access paths. Among these 13 blocks, eight are dedicated to the lobby or main access spaces which, at rush hours, can accommodate up to five thousand visitors.  Diagram The green covering layers of the roof and interior circulation layers along with the grand western high tech façade are the three main elements in forming the building shape. Applying green spaces and environmental conservation play important role in the master plan of Abbas Abbad lands. Therefore, in the design of this project, we tried to come up with a building inspired by nature and matched with the site environment. Implementing green roof was the key point in designing of this building which harmonizes the building with its neighboring environment. In Book Garden project, the roof is not considered as just a covering element but as a part of nature. Something which evokes perfectly the continuity of the motion. The Roof Garden acting as a Cultural Public park is accessible via Grand eastern stairs which connects the building to the Culture Plaza, National library and Academies Complex.  © Ali Daghigh The interior spaces of the building have been designed as a one huge continues space which works as a terraced garden,(inspired by the concept of Iranian Traditional Gardens), housing Modular exhibition spaces which connect through the main Circulation path along the west façade with a length of 550m and a height of 13 meters. The interior spaces of the building overlook the west exhibition garden and a 2hectars artificial lake, through this glass façade. In the center of the building a pedestrian path, Named 'Path of Culture' crosses the building site. This pedestrian path connects several cultural buildings along its way until it arrives at the Tabiat Bridge on the other side of Taleghani public Park. The design of the building spaces and its landscape has been based on the idea of Modular Flexible spaces, Transparency, Fluid motion of the visitors and integration with the landscape.  Theater Cross Section  This posting includes an audio/video/photo media file: Download Now |
| Beijing ‘Tsuo’ / Wonder Architects Posted: 22 Nov 2017 04:00 PM PST  © Haiting Sun
 Entrance. Image © Haiting Sun Text description provided by the architects. What Tsuo is presented, is a wonderland fabricated by architects. In reality, we are far yet to break away from this crowded city, not even transcend spacial boundary of the villa. Nevertheless, like all our ancestors did, we are seeking to explore a new means of explana-tion in this confined space.  Interior courtyards. Image © Haiting Sun The spatial tricks that Beijingers play with  Interaction between the rocks and our living space. Image © Haiting Sun Creating an unconventional layout in an ordinary building becomes a prevailing trick among Beijingners. The site of the project is in the west suite of a traditional villa, while there are thousands of those in Beijing! The suite is surrounded by walls, making it a garden within gardens.  Collecting' views. Image © Haiting Sun We redesigned the spatial layout of the suite into different units. For every unit, each inte-rior and exterior space is reconstructed. For example, filling courtyard with buildings or en-larging garden by giving it more interior space. By dividing one vertical space into multiples or twisting the counterpoint relationship between space and landscape, we are trying to ex-plore the boundary possibility with space variation.  The west suite after reconstruction After the reconstruction of each space, we recombined them to form a new set of spatial narrative experiences. The new construction creates such extreme contrast to the original one that leads the visitors into a spatial adventure, forgetting they are situated in the dim west suite.  The reconstructed interior area. Image © Haiting Sun  Section of the reconstruction  Marks of progressions over time. Image © Haiting Sun Under limited dimensions, we wanted to demonstrate the tendency of using functional space to 'collect' views and deliberately creating unconventional views of Beijing in our daily scenes. It is considered that the views and spaces are correspondent in this build-ing and it is inevitable to savor the views.  The reconstructed interior area. Image © Haiting Sun  Section of the reconstruction  The views corresponding with the space. Image © Haiting Sun During the process of renovation, we tried to keep the layers of progression within the building. From the rough reconstruction done in the early periods, to the random fix-tures that took place later, all the reversions were kept, leaving the trace of the time del-icately captured in this building. By using white dry walls and white reconstructions, we marked our influences to this building and we are ready for someone else to do the same all over again.  'Collecting' views. Image © Haiting Sun It is intentional to blur the line between the interior and the exterior. For example, we placed groups of rocks all over the courtyard, creating coincidental collisions between architecture and nature. The rocks resembled mountains and canyons, like the building was built at the bottom of a quiet, peaceful valley.  The views corresponding with the space. Image © Haiting Sun Even with the help of modern day technology, it was not much easier for us to transport a piece of rock that weighted three tons than in 18th century.  Interaction between the rocks and our living space. Image © Haiting Sun  This posting includes an audio/video/photo media file: Download Now |
| Yosukwon / Spaceprime architecture Posted: 22 Nov 2017 02:00 PM PST  © Inkeun Ryoo
 © Inkeun Ryoo Text description provided by the architects. Jeju Yosukwon A unique terrain division and a curved stream along with the overlapping old and new roads on the site contribute to the formation of a triangular building site in the mid mountain area of Jeju Island. This inevitably poses a challenge to an architect in a sense that it could take away the freedom of choosing the shape of the architectural design he or she pursues.  © Inkeun Ryoo In addition, such unique architectural conditions coupled with too much of an ambition to envision all the program requests by the client could easily ruin the openness and liberty felt through the grandeur of adjacent mountains and the vast sea in front by simply conforming to the land shape and burdening the area with too many design elements, eventually disrupting the surroundings. Therefore, design efforts should be put forth in a way that does not conflict with the surrounding context while keeping alive creativity with the overall architectural shape.  © Inkeun Ryoo Mass Design Separation, Balance and Unity : While maintaining as much independent practicality on its own, each mass has been designed to best harmonize with the surroundings. The size of each mass is just perfectly balanced that each mass is seen as part of the surrounding context. All the separated masses achieve a sense of unity through solid structural links and elevation plans.  Mass Combination Diagram Various programs requests are embodied into three different types of masses: commercial, residence, and gardens. Commercial masses are placed on the road to gain the most comprehensive exposure and easy access for visitors. Where the commercial masses end, gardens continue until a residence mass takes over. This setting provides a clear division between commercial and residence masses while giving a seamless connectivity through gardens.  © Inkeun Ryoo Garden Space The gardens incorporate a private space into a public space by creating a back yard in addition to a court yard and a side yard. This is to go against the tendency that commercial heavy areas often neglect the addition of private areas. This translates to the installation of a courtyard and a small stream for public and a backyard and a garden house for private. A side yard forms a linear shape, placed right next to the flank of a commercial mass.  © Inkeun Ryoo Court Yard : Pine trees decorating the edge of a small stream become a great landscape photo. Back Yard : A back yard and a garden house appear after walking past a staircase and a small stream, which satisfies the need for tranquility of the client. Side Yard : Adjacent to a dry stream outside the building site, a side yard forms on one side and serves as a both functional and aesthetically pleasing outdoor area for a restaurant, becoming more than a mere secondary pathway leading to the back yard.  Floor Plans Façade Multi-façade: Seamlessly merged with the surrounding open space, masses appear different from various angles. Construction materials and window sizes are carefully picked to achieve unity from each angle.  © Inkeun Ryoo Open & Close: To minimize privacy infringement, masses take either a completely open structure or a nearly closed one. In such decision-making, sceneries and the amount of sunshine are considered.  © Inkeun Ryoo Minimum number and size of windows are in place on the residence mass to avoid unpleasant eye contacts between commercial and residence areas. The remaining area on the wall excluding small sized windows becomes a great canvas for a tall pine tree. In order to emphasize the unity of the masses rather than the independent perfection of each mass, all masses are finished with exposed-flat concrete in front and exposed-wood pattern on sides. Woods are used to floors and ceilings outdoor. The true color of masses is the warmth felt through achromatic concrete and glasses.  © Inkeun Ryoo  This posting includes an audio/video/photo media file: Download Now |
| Posted: 22 Nov 2017 12:00 PM PST .jpg?1511266171 "© William Sutanto") © William Sutanto
(1)(2).jpg?1511266506 "© William Sutanto") © William Sutanto Text description provided by the architects. This house was designed with a skewed mass as a response to the unique challenges of the site and with its tropical context in mind. Its vertical and horizontal skew create a sense of spatial distortion that deviates from the experience of other more conventionally designed houses in Indonesia .jpg?1511267005 "Mass Concept") Mass Concept This house is designed to be a contemporary house that respond to tropicality and context of the local site, which resulted in the asymmetrical-voids within the house. These voids on each openings naturally provide shades so that rain and sunlight will not come in contact directly to the interior. The swimming pool and the void over it cool the living area during the day. Whilst the green roof absorbs direct sun radiation and reduces the overall temperature of the house. .jpg?1511266160 "© William Sutanto") © William Sutanto  Floor Plan 1 .jpg?1511266113 "© William Sutanto") © William Sutanto Moreover, the vertical and horizontal distortion of the building's form creates a unique spatial experience. Split level and diagonal ceilings blend normative perceptions, creating a distinct sense of character to the house. The dominating features of the house include composite wood materials and white walls, creating a sense of unity and cohesion throughout its design .jpg?1511266223 "© William Sutanto") © William Sutanto This house was created as a response to the demands of a new generation of millennial families in Indonesia, designed with both practicality and urban culture expression in mind. .jpg?1511265496 "© William Sutanto") © William Sutanto  This posting includes an audio/video/photo media file: Download Now |
| Ocean Terminal Extension / Foster + Partners Posted: 22 Nov 2017 11:00 AM PST  Courtesy of Foster + Partners
 Courtesy of Foster + Partners Text description provided by the architects. A new gateway for thousands of international cruise liner passengers, the extension to the Ocean Terminal in Harbour City, Hong Kong has opened to the public. With stunning new outdoor spaces for dining and leisure capitalizing on the unmatched panoramic views of the harbor, this new expansion will be the best place for visitors to immerse themselves in a unique waterfront experience, creating a new landmark for Hong Kong. The terminal has the distinct advantage of being located directly opposite Victoria Harbour, boasting unrivaled views of Hong Kong's iconic skyline. Standing right on the water's edge visitors have 270- degree views of the city, from the Kowloon Peninsula in the North East to Causeway Bay in the South East.  Section This new public plaza – in the form of cascading terraces looking out towards the harbor – provides a new outdoor space for the people of Hong Kong and a distinctive gateway to the city for its visitors. The building embraces the city's al-fresco dining culture, turning the undeveloped end of the cruise terminal into a vibrant entertainment hub right in the center of the city harbor. Luke Fox, Head of Studio and Senior Executive Partner, said: "By introducing a new series of public spaces to the site, right down to the waterfront edge, we aim to create a 'new living room' for the people of Hong Kong and its visitors right in the heart of the city."  Courtesy of Foster + Partners Architecturally, the form of the building is a direct response to its climatic context. Its wide cantilevered terraces shade the lower levels, protecting them from the harsh tropical sun. The balustrades angled to tie in with the overall geometry of the building, extend downwards as louvered shading devices for the terrace below. The building also offers retail, dining and lounge facilities, with a stepped outdoor seating area from which to sit and enjoy the view. The steps feature glass risers that admit natural light deep into the internal atrium. The connection to the existing terminal is seamless, and the design introduces a new central diagonal circulation spine that connects the roof level to the marine deck, both physically and visually, via a series of escalators cascading down through the public spaces.  Courtesy of Foster + Partners  This posting includes an audio/video/photo media file: Download Now |
| 2018 Istanbul Design Biennial, "A School of Schools", Launches Open Call Posted: 22 Nov 2017 10:00 AM PST  Map of Antarctica (American Geographical Society, 1956). Image Courtesy of IKSV A School of Schools, the theme for the 4th Istanbul Design Biennial, will "use, test, and revise a variety of educational strategies to reflect on the role of design, knowledge, and global connectedness" in Istanbul and around the world. Two calls for ideas—one for "schools" and one for "learners"—have been opened to interested parties.
Details can be found in full here. Call for Schools"Individuals, collectives and organisations are invited to express interest, indicate availability and resources, and propose new and old educational models for implementation and exhibition. Educational models should be presented in the format of a 'school', whether workshop, laboratory, tutorial, university, online network, camp, field trip or any other format. The proposal should not only include research, methodology, process, and duration of the school – from one hour to one year – but also its outcome. Schools may be location-specific, travelling or digital; and can either be submitted with a predefined set of participants, such as an existing school with existing students, or open to establishing a group of learners. Schools that subvert or reframe traditional pedagogical theories and binaries such as teacher and student, question and answer, and demonstrate a clear exhibition output will be given preference." Call for Learners"Learners—including people, bots and machines—from all disciplines are invited to apply to participate in the schools and express interest in particular themes. A portfolio of existing work, an expression of passion and capacity to learn, and a skills matrix are required. A School of Schools will curate an exciting cast of learners willing to share as much as they grow, and contribute to the range of perspectives explored."
Curatorial Statement: A School of SchoolsThe amount of information in the world is more than doubling every two years. People know more than ever before. Lifelong learning is touted as the only way to keep a job and keep your head. Chalk and talk, and reciting multiplication tables has no chance against the animated distractions in our pockets. Meanwhile, the machines themselves have started learning too. What will be left for humans to do and which mental faculties remain irreplaceable are hot topics. Is it time to go back to school – and redesign it? Alternative design education initiatives have consistently provided a brave space for experimentation and new knowledge, from the Bauhaus to Black Mountain College, and from Global Tools to the Sigma Group. These initiatives have not only helped design evolve, question itself and push its own boundaries, but also education and learning in general. Not only concerned with design, many of these experiments have also tested alternative ways of living, working, and connecting with each other and ourselves. Through this process-based experiential research, new manifestations, meanings, and implications of design have surfaced. Today, design has become a form of enquiry, power and agency. It has become vaster than the world and life itself, permeating all layers of everyday life. As design becomes pervasive, the discipline can no longer claim to offer solutions to everything. In fact, the one-size-fits-all approach of many universal global systems is showing its cracks and exclusions. Similarly, design education – where the field and its practitioners have traditionally been reviewed and refined – now finds itself navigating new constraints and challenges regarding relevance, adaptability, accessibility, and finances. As a space for critical reflection on design established in a historically rich context, the Istanbul Design Biennial offers the opportunity to question the very production and replication of design and its education. In 2018, the 4th Istanbul Design Biennial builds on the legacy of previous editions, in order to reinvent itself and become a productive process-orientated platform for education and design to research, experiment and learn in and from the city and beyond. Titled A School of Schools, the 4th Istanbul Design Biennial will stretch both the space and time of the traditional design event, manifesting as a flexible year-long programme within which to respond to global acceleration, generating alternative methodologies, outputs and forms of design and education. A School of Schools manifests as a set of dynamic learning formats encouraging creative production, sustainable collaboration, and social connection. Exploring eight themes, the learning environment is a context of empowerment, reflection, sharing and engagement, providing reflexive responses to specific situations. Can the biennial use, question and reframe previously tried-and-tested education models—from the museum-as-encyclopedia to the laboratory, the studio and the academy—to create a setting for meaningful dialogue and design? Can design itself be a brave space for people to share their knowledge and ignorance, their experience and curiosity? Engaging multigenerational, transdisciplinary practitioners from Turkey and abroad, A School of Schools brings together old and new knowledge, academic and amateur, professional and personal, focusing on the process as much as the outcomes. Together, agents in this complex and ambitious ecosystem will create new knowledge, search for alternatives to implemented systems, and with radical diversity, push the boundaries of the design discipline.  This posting includes an audio/video/photo media file: Download Now |
| Gravity Tower / Plus Architecture Posted: 22 Nov 2017 09:00 AM PST  © Jaime Diaz-Berrio
 © Jaime Diaz-Berrio Text description provided by the architects. Located on a prominent intersection in South Melbourne, this 29 level apartment building is the first completed project of the significant urban renewal precinct of Fishermans Bend. The site is bound by post-industrial landmarks, large scale infrastructure and the city centre to the north and fine grain 19th century residential fabric to the south.  © Nicole England The initial response was informed by the challengingly small size of the site. An urban design strategy led by Melbourne's famous laneways enabled the tower to be built on the southern boundary with zero setback. The building composition and planning is a direct articulation of this initial strategy; Podium, concrete Spine and glazed Lantern.  Typical Floor Plan The Lantern houses the majority of the dwellings and is highlighted by the 70m high brise soleil protecting the residents from the harsh Australian summer afternoon sun. The chevron super graphic pattern speaks to the speed and scale of the macro size of the freeway and city vista beyond. The scale and motion of this articulated pattern flows and changes depending on the viewer's location, presenting a new interaction from every angle. However, experienced from the pedestrian scale the metal louvres visually dissolve and talk to the patchwork jumble of the established residential neighbourhood to the south.  © Nicole England The spine, holding the elevator core and two-bedroom apartments at each side, rises in contrast to the angled louvres of the lantern. To foster a sense of community, the top of the spine houses a series of communal spaces including cinema, dining, lounge, spas and bbq areas.  Elevations The Podium has a ground level restaurant, resident's entry lobby and the carpark entry. Much of the precinct has some level of flood risk. In this case the buildings inhabited spaces are required to be 1.5m above street level to mitigate flooding. This has led to innovations such as the use of carpark flood barriers and a sacrificial internal flood zone within the building.  © Jaime Diaz-Berrio From the outset the project was designed to question what a vernacular apartment building should look like, respond to and feel like to live in. The Gravity apartment tower is light filled, airy and responsive to its location and climate. It supports its residents with generous communal facilities and sheltered private spaces to retreat to.  © Nicole England  This posting includes an audio/video/photo media file: Download Now |
| Discover The Red Square Through the Lens of Maria Gonzalez Posted: 22 Nov 2017 08:00 AM PST  © Maria Gonzalez A UNESCO designated World Heritage site, Red Square is the historic center of not only Moscow but Russia's cultural life. In the 1400's, this city center was a poor, blighted area until Ivan the Great called on Italian architects to help him build the Kremlin, or fortress. This outdoor urban space is now home to St. Basil's Cathedral, the State Historical Museum, the GUM Department Store and Vladimir Lenin's mausoleum. St. Basil's is one of the most recognizable buildings in Russia due to it's unique domes, towers, cupolas, spires and arches. Some of the best Russian history and art lives behind the distinctive red brick walls of the State Historical Museum. The GUM Department Store makes Red Square a luxuriant shopping destination. In it's lifetime, the Square has hosted innumerable speeches, parades, rock concerts and festivals.  © Maria Gonzalez  © Maria Gonzalez  © Maria Gonzalez  © Maria Gonzalez  © Maria Gonzalez  © Maria Gonzalez  © Maria Gonzalez  © Maria Gonzalez  © Maria Gonzalez  © Maria Gonzalez  © Maria Gonzalez  This posting includes an audio/video/photo media file: Download Now |
| Studio House CHOI / Cubo Rojo Arquitectura Posted: 22 Nov 2017 07:00 AM PST  © César Béjar Studio
 © César Béjar Studio INTRO  © César Béjar Studio THE PROCESS  © César Béjar Studio THE HOUSE  Section L1-L1'  Section L2-L2' Returning to the access level we have a corridor that invites us to contemplate from another angle the social space and the gallery, and connects directly to the studio, which merges with the landscape and the garden by means of glazing elements that provide light and ventilation.  © César Béjar Studio On the first floor we have the rooms, which are reached through a linear concrete staircase, and together with a series of domes create an almost sculptural spectacle between the light and the continuous space. From the first floor one can appreciate the space through the great central height of the house. The rooms are arranged at both ends of the lot, on the east side there are 2 rooms with a view that allows you to see the rest of the city and the surrounding landscape, a balcony that communicates the 2 rooms creating a small space of cohabitation. On the west side there is a room that faces the street, and which communicates with the open space of the house, providing certain autonomy from the other rooms, but at the same time remaining linked to the whole. Almost next to this room there is a terrace suggesting a space of cohabitation more linked to the street and the neighbors.  © César Béjar Studio  This posting includes an audio/video/photo media file: Download Now |
| Why Architectural Models Are Crucial in Making Bamboo Projects a Reality Posted: 22 Nov 2017 06:00 AM PST  © Eduardo Souza Each material has its own peculiarities and, when using it for building, the design and construction process must accommodate these characteristics. A steel-framed building, for example, must be designed with a certain level of accuracy so that components and parts, usually manufactured off-site, fit together during assembly. A wooden building can have its cross sections drastically modified according to the species and strength of the wood used, or even according to the direction of the loads in relation to their fibers. With bamboo, no pole is exactly the same and each one tapers and curves differently, which requires a different approach when designing and building. But how is it possible to work with a material with so many challenges and possibilities?  © Eduardo Souza Building with bamboo requires, above all, a new way of thinking about the project and the work. According to Ewe Jin Low, a lead architect at IBUKU, "to learn how to build with bamboo, you must rather unlearn a little of architecture." This does not mean that it is necessary to forget what you have learned during college, quite the contrary. It concerns understanding the material and respecting its peculiarities, its natural irregularity, the way it grew and even how it was cut. In other words, unlearning means leaving behind some preconceived ideas about architecture and admitting that a bamboo building will never be accurate to the millimeter, will never have perfectly round dimensions, and it is therefore impossible to think of it structurally as you would think of concrete or steel. A designer must take into account that a natural and raw material such as bamboo has memory, has differences in color, size, and strength—and therein lies its beauty. Along with sketches and conceptual images for reference, models play a vital role in the design process of bamboo projects. As well as being very important during the design of a new building—in volumetric and structural studies—they are the main documentation of the projects developed by the IBUKU office. Generally created at a scale of 1:50 or 1:25, sticks are used which are scaled according to the sections of each species of bamboo to be used in the constructed building. When the design is finished, approved and ready for construction, two identical models are made. One goes to the site and the other stays in the office, in case of loss or breakage. What is more interesting is that the model, constructed in the same material, behaves structurally in the same way as the constructed building, and through it you can test issues such as structural spans. During construction, the model is often revisited so that dimensions can be verified, or doubts can be resolved.  © Eduardo Souza The organic forms developed in IBUKU's projects are generally best represented in scale models, where one can clearly see all the structural components and how they work together. The models are both a design element and a form of documentation for the construction. However, "traditional" technical drawings are also developed. Sections and floor plans are important, especially for the interiors, for the electrical and plumbing installations, and for sending to other professionals involved in the project. During the Bamboo U course, participants were able to work with bamboo models, developing pre-designed models and also developing their creativity through their creations. In this way, they were able to better experience and understand the characteristics of bamboo, its elasticity, resistance, and potential. At the same time, a skilled model-maker was developing the final full-size construction model during the final days of the course with the help of the participants.  © Eduardo Souza  © Eduardo Souza Two of ArchDaily's editors, Eduardo Souza and José Tomás Franco, were invited by BambooU and the bamboo design firm IBUKU to be part of this amazing experience, hosted by The Kul Kul Farm at the Green School in Bali, Indonesia. Check out more information about the next courses here and follow BambooUBali on Instagram.  This posting includes an audio/video/photo media file: Download Now |
| Hungry Man Productions / FreelandBuck Posted: 22 Nov 2017 05:00 AM PST  © Eric Staudenmaier
 © Eric Staudenmaier Text description provided by the architects. FreelandBuck has recently completed an 8,000squarefoot office interior for Hungry Man Productions headquarters in Los Angeles. Asked to rethink the organization of the office, the project aims to match the lightheartedness of Hungry Man's identity with a series of tumbled cubicles that playfully challenge the regularity of the typical office space.  © Eric Staudenmaier  Ground Floor Plan  © Eric Staudenmaier Loosely organized across the large open floor area, the informal arrangement of office spaces creates a diversity of stable and flexible working configurations. Feigning randomness, the cubicles are calibrated to support specific relationships between staff while leaving adjacent breakout spaces open and flexible. In addition, cubicle boxes pile up to make visually prominent display and projection areas that take full advantage of the generous ceiling height of the warehouse shell.  Model  © Eric Staudenmaier The tumbling cubes are reproduced graphically in the finish treatment of surfaces with CNC-milled MDF and painted details. From specific points of view, these articulated surfaces create spatial illusions and a lively, dynamic work atmosphere. The linework of the paneling reflects and augments the corrugated metal cladding of the existing steel frame warehouse.  © Eric Staudenmaier  This posting includes an audio/video/photo media file: Download Now |
| MVRDV Clad Flexible, Mixed-Use Munich Building in Giant German Slang Words Posted: 22 Nov 2017 04:00 AM PST  Courtesy of MVRDV MVRDV has unveiled the design of an adaptable building to be located at the center of Munich's Knödelplatz square adorned with 5-meter-tall (16-foot-tall) German internet slang words as a homage to the neighborhood's graffiti culture. To be known as WERK12, the building will house flexible entertainment, restaurants, office space and a multi-story fitness center within a highly transparent envelope, allowing the building to become a vertical extension of the plaza.  Courtesy of MVRDV The building is sited on a formerly industrial site in the emerging Werksviertel district, and its design draws inspiration from that character. A concrete framework allows its interior spaces to remain open and flexible, dotted with individual architectural pieces housing different program. All five floors feature generous ceiling heights of 5 meters (16 feet), each broken up by a mezzanine level housing fitness rooms, classrooms and lounges. Departing from the plaza, the main staircase snakes its way around around the outside of the building, following the perimeter of the 3.25-meter-wide (11-foot-wide) terraces that wrap each floor. These elements work in tandem to blur the borders between interior and exterior, as well as generating shading and circulation for each floor.  Courtesy of MVRDV  Courtesy of MVRDV "The facade of the building is transparent and does not separate inside from outside and instead of isolating its inner activities, it is in constant dialogue with its surroundings," explain MVRDV. "A transparent reincarnation of industrial times celebrating the future. "  Courtesy of MVRDV .jpg?1511292952 "Courtesy of MVRDV") Courtesy of MVRDV The large words on the building facade, inspired by the graffiti and signage found on the site, allow the building to communicate with its surroundings. Designed by local artists Engelmann and Engl, the letters are intended to highlight the building's contrast between historic and contemporary. "The words are fractional and work with the repetition of letters. In this way, they create emotions that are not only visually perceptive but extended as an acoustic component," describe the architects. "The ultimate contrast emerges when the building illuminates at night flipping the industrial simple geometry into a lightshow of another scale – the new selfie hotspot of Munich."  Courtesy of MVRDV The building is planned to open in February 2019. News via MVRDV.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 22 Nov 2017 03:00 AM PST  © Tal Nisim
 © Tal Nisim Text description provided by the architects. The project sits in a quiet residential neighborhood northeast of Tel Aviv. It is a single-family house that shares a party wall with its neighbor. The brief was to design a single family dwelling for a young family with four children. The client requested a house with a small footprint, that would create a large garden for the kids to play. The site is elongated and has a relatively steep topographic change between its front and backyard. Therefore we faced a challenge in fitting all of the necessary programs whilst maintaining a pleasant footprint. In order to break the mass of the house and provide a more gentle footprint, we proposed to divide the house into a series of cubes with a courtyard separating them. This would allow light to enter into more spaces within the home and would break the mass of the facade.  © Tal Nisim It also helped to break the spaces within the house into square rooms. In addition, the volumes that subdivide the space help to define the internal program by differentiating between functions. The first floor is interconnected by a bridge which connects the master bedroom and children's rooms. This helps create privacy for the master bedroom suite. In addition to the interior, the garden was an integral part of our design helping to create a series of spaces each with its individual character. We believe that the garden should be experienced within the house as well as help facilitate additional activities. There is a small patio between the car park and house, which is a place to drink coffee or tea or read a book.  © Tal Nisim  Floor Plans  © Tal Nisim There is an additional patio in the children's playroom which creates an arts and crafts space in the basement whilst providing natural light in the space. The rear garden has three areas, an outdoor salon adjacent to the internal salon. An outdoor dining area and kitchen for entertaining guests. There is a raised terrace which creates an elevated area with views of the house and garden. The materiality of the space consists of white render, exposed concrete, black aluminum, oak wood, and Natural Stone. This material palette is visible throughout the house. It helps to stitch the spaces together. The choice of the white render is a climatic one, as we have 300 days of sunshine. Therefore we chose a material that would blend into its surroundings as well as not attract unnecessary heat and sunlight. The use of external louvers and large openings to the North create the ability to enjoy the view while not being blinded by the sun.  © Tal Nisim  This posting includes an audio/video/photo media file: Download Now |
| Hate Contemporary Architecture? Blame Economics, Not Architects Posted: 22 Nov 2017 01:30 AM PST  <a href='https://www.archdaily.com/65609/center-for-brain-health'>Lou Ruvo Center for Brain Health / Frank Gehry</a>. Image © <a href='https://www.flickr.com/photos/kimberlyreinhart/4586001600'>Flickr user kimberlyreinhart</a> licensed under <a href='https://creativecommons.org/licenses/by-nd/2.0/'>CC BY-ND 2.0</a> This article was originally published by Common Edge as "The Politics of Architecture Are Not a Matter of Taste." Late last month Current Affairs published an essay by Brianna Rennix and Nathan J. Robinson titled "Why You Hate Contemporary Architecture: And if you don't, why you should." The piece, written in a pseudo-funny Internet lexicon wherein all objects of criticism are "garbage," is so laden with irony—the poorest of substitutes for analysis—that it is difficult to discern a core argument. Still, I'd like to question the central premise of the piece: that what the authors term "contemporary architecture" is ugly and oppressive, and that liking it is nothing shy of immoral.
From the outset, the authors use the term "contemporary architecture" as a blanket that covers both Lina Bo Bardi's SESC Pompéia, a Brutalist building completed in 1982, and Morphosis's 2004 Caltrans Headquarters—two wildly different buildings operating in different intellectual traditions and political/historic contexts. This loose definition betrays the entirely ahistorical nature of their argument. In one instance, they draw a diagonal comparison between Boston's Beacon Hill (a neighborhood built in the 19th century, mostly by affluent Bostonians), Frank Lloyd Wright's Guggenheim (completed in 1959 in New York City), and the Tour de Montparnasse (Paris, 1969). The treatment of these buildings as somehow equivalent and comparable reveals that for all their efforts at making an argument rooted in left theory, the authors have entirely disregarded the wildly varying historical and material conditions surrounding the creation of any of the buildings to which they refer. While the authors take their readers on a Big Bus Tour of Architectural Wonders Through Time, it can hardly be said that their trip is historical. At its core, the argument they make is an aesthetic one. But, even by those standards, it falls short. The authors forego any visual or formal analysis, making the sophomoric mistake of telling rather than showing ("This building is ugly because it has bad elements." vs. "These elements make this building ugly for these reasons."), in attempts to lay out an indictment against the appearance of what they term "contemporary architecture." Rennix and Robinson also subscribe to the Great-Man theory of history, mythologizing well-known architects to the point that they treat their ideas like gospel. To the authors, this gospel might be foolish, silly, misguided, pedantic, but it is gospel nonetheless. The diametric opposite of the words of Architects From On High is what the authors condescendingly describe as the common-sense opinion of "most people," who know a good thing when they see it and like old buildings best. According to the authors, these "old buildings," regardless of where they were built, are all beautiful. Every single one of them is a work of art, and we should be creating more buildings that look like them. Never mind that Venice's Gothic construction, which the authors insist we should "build more of," was largely sponsored by the Venetian elite and ruling classes; or that every building they cite as being undeniably "good" and "beautiful" fits comfortably into the canon of architectural history, a construct shaped over the last three centuries by people with power and money. These terrifyingly simplistic ideas of what makes for "good" architecture fill Rennix and Robinson's piece. In one particularly troubling instance, the authors offer a rule of thumb for architects: "the greener and more lush a place, the lovelier it becomes" and use the Hanging Gardens of Babylon as evidence to support this rule. (It is unclear whether the authors know that there is no evidence that this last example was actually ever built.) The authors present architects with many models to emulate, yet they still struggle to articulate a clear definition for beauty—in spite of their insistence that beauty is categorical and objective, and that the reason we don't make beautiful places is that we have not developed a language to talk about beauty. I wonder how J.J. Winckelmann, or Immanuel Kant, or Umberto Eco, or Edmund Burke, all of whom devoted large portions of their lives to questions of aesthetics, would react to the claim that we simply have not spent enough time thinking of ways to talk about beauty. Unfortunately, the authors don't share this particular curiosity and instead make the ridiculous proposition that, in order to determine whether a building is beautiful, we should ask what sound it would make if it could speak. Questionable methodologies aside, even by the authors' own standards, beauty is definable but still subjective and variable, dependent entirely on cultural norms tied to the wavering and fleeting feelings it evokes—happiness, joy, curiosity, wonder. I'll set this particular issue aside, though, and focus on the fact that the authors claim that architecture built today is not beautiful by any standard. This is an implication that architecture is in crisis. On that we can agree. But it's in crisis not because the buildings made today are not symmetrical, or because their designers are afraid of beauty or of ornament. It's in crisis because architecture—and here I use this term to mean buildings that have been designed for construction in the physical world—does not fit as a commodity into capitalist economic structures. There is no value, in the Marxist sense of the word, to be extracted from additional ornament, from a balanced and artfully composed plan, from awe-inspiring beauty, except for in the cases of buildings conceived to be monumental. There is no "feeling" that makes a developer money. The reason that highly designed contemporary architecture almost exclusively manifests in iconic structures is that it's the only way that investing in design and aesthetic quality can turn a profit for someone. The architects whose work he cites—Zaha Hadid, Frank Gehry, Peter Eisenman—just happen to be among the few whose work has been irreverent enough to attract investment, or at least a vaunted position in the rarefied halls of Ivy League architecture schools.  The Guggenheim Bilbao, designed by Gehry and completed in 1997, is often credited with the popularization of the city and spikes in tourism there--now known as the "Bilbao Effect". Image © <a href='https://www.flickr.com/photos/ndrwfgg/9480202128'>Flickr user ndrwfgg</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> It's difficult to say what the work of these architects would look like were the pressures of capitalism not a factor in their design. Frank Gehry, who the authors confusingly (and incorrectly) call the "architects' favorite architect," has long designed buildings that raise the ire and criticism of the architecture community for reasons similar to the ones the authors cite. But why does he keep making them? Because they make money. The Guggenheim Bilbao, designed by Gehry and completed in 1997, is often credited with the popularization of the city and spikes in tourism there. The "Bilbao effect" is a simplistic way of thinking about and understanding the complex forces that influence any city's development, but the desire to recreate it elsewhere has led developers to seek out spectacular designs from architects all too willing to provide them. Sitting counter to this "starchitecture" are more pedestrian manifestations—housing complexes, hospitals, government buildings—of "contemporary architecture" that the authors denounce with similar vigor. These buildings are often characterized by rectilinear facades and plans, cheap materials, and poor detailing, but they proliferate in cities in large part thanks to the pressures exerted by capital. They provide the semblance of modernization, the up-chargeable veneer of high design, with none of the work (or related expense) required to design or construct it. The lack of quality and banality typical of contemporary everyday architecture stems from the same capitalist logic that resulted in the myth of the "Bilbao Effect." While these issues manifest visually, the problem is actually not aesthetic. It is, fundamentally, a problem of economics. In what seems to be a happy accident, Rennix and Robinson almost get it right: they suggest that "we must break out of the prison [of our ideas] and destroy the economic system." But it isn't our ideas that are the prison; it's the economic system itself. This idea isn't entirely unknown to the architectural profession, which has over the last two decades slowly reclaimed the political nature of its work. At the front of this movement is the U.S-based group The Architecture Lobby, a formation of left-leaning architects that organize on the basis of their status as workers in order to advocate for the value of their labor. Rather than taking up the fight against capitalism by shadowboxing with its aesthetic precipitate, the group seeks to confront it at the means of architectural production. Their critique is rooted in political economy and in an understanding that there is no "outside" to capitalism. If we're going to change the economic system, we have to break it from within. This idea seems to completely elude the authors, and it's here that they entirely miss the mark. They've taken aim at everything—architects and their ego, their bad taste, their bad ideas, their contempt and disdain for "the masses"—but the real culprit: the absolute necessity for everything produced under capitalism to turn a profit. My deep gratitude to Keefer Dunn, alongside whom I have developed these ideas and whose notes on this piece were immensely helpful. Marianela D'Aprile is an architectural worker, writer, and educator based in Chicago. Her work addresses the intersection of politics and architecture, with a focus on Latin America, Left movements, state violence, and public spaces.  This posting includes an audio/video/photo media file: Download Now |
| Social Housing /Atelier du Pont Posted: 22 Nov 2017 01:00 AM PST  © Takuji Shimmura
 © Takuji Shimmura Text description provided by the architects. In Paris suburb, located in a flood risk area, this project of 61 social housing units contributes to the objective of the Ivry Confluences Urban Development Zone (ZAC) to revitalize the southern part of this former industrial district.  Facade To ensure a transition between the scales of the very different urban situations, the project forms a homogeneous built environment made up of a series of buildings ranging from two to seven storeys in height. This staggered height plan goes hand-in-hand with a consideration of the range of uses and typologies, urban forms and modes of living that form a city.  © Takuji Shimmura The buildings on the street corner are collective housing and have a far-ranging view out over the neighbourhood, but the height then gradually tails off towards the small square on the south side, splitting up to form an intermediary environment of superimposed townhouses. This typology marries the need for compactness with the quality of individual homes or small-scale collective housing that reflect the neighbourhood's past and how people have always lived here.  © Takuji Shimmura The houses and flats are raised above ground level, since the site is covered by flood prevention regulations. They are reached by means of a pathway that passes through the treetops of a ground-level park, offering residents a gentle transition between private, collective and public spaces along with a view of the entire site.  © Takuji Shimmura Artistic add-on, Atelier YokYok painted an anamorphosis on the porches, establishing a graphic and playful dialogue with the architecture and the nearby school group.  © Takuji Shimmura  This posting includes an audio/video/photo media file: Download Now |
| Techniques For Landing A Job At The World's Most Competitive Architecture Firms Posted: 22 Nov 2017 12:00 AM PST .jpg?1511296287 "Wieden+Kennedy NY / WORKac © Bruce Damonte") Wieden+Kennedy NY / WORKac © Bruce Damonte This article was originally published by The Architect's Guide as "5 Techniques To Land A Job With The World's Most Competitive Architecture Firms." As I discussed in my interviews with several firms in 7 Questions Answered By The World's Top Architecture Firms On What They Look For In Job Applications, the quality of your application documents is extremely important. However, for some of the most competitive offices even having a perfect portfolio isn't enough. So what can you do to stand out?
The bad news is that the top firms like Gehry Partners, Herzog & de Meuron, BIG, Foster + Partners, etc. are extremely competitive. For example, most of these firms receive over 20,000 applications per year. Since they may only hire 50 people per year at most, it means you only have a 0.25% chance of getting hired! To put that into perspective, as of 2016, Harvard has a 5.6% Undergraduate acceptance rate. Therefore, these architecture firms are over 20 TIMES more selective than even the most prestigious universities. The Application Black HoleThe HR Department at Perkins+Will explained their system in detail: "Perkins+Will uses an online application system offering candidates a portal to respond to job vacancies by uploading their resume and portfolio. Over the last five years, over 60,000 applicants have applied through the portal." That is 1,000 applications received every month, for five years... So with these daunting statistics, what can you do to increase your changes? Here are my 5 Techniques To Land A Job With The World's Most Competitive Architecture Firms. I also discussed many of these topics in my interview on the EntreArchitect Podcast. You can check it out here: EA186: Brandon Hubbard, The Architect's Guide [Podcast] 1. Letters of Recommendation Don't just put the default "Letters of Recommendation Available Upon Request" on your resume (CV). Instead, actually include letters of recommendation with your applications. Depending on your work experience these can be from professors, previous employers or volunteer leaders. I discuss this in more detail in a previous article: 5 Tips For Architecture Letters of Recommendation 2. Connections If you are just starting out, your network of architects, hiring managers and other employees may be somewhat limited. However, I encourage you to work with what you have. If you are a recent graduate, is there a professor that can make a connection for you at your desired firm? Perhaps they don't have a direct connection but odds are they know someone who knows someone. The architecture community is relatively small so there is almost always a way to connect the network dots. I covered this topic and more in: Don't Just Build Your Resume. Build Your Brand 3. Alternate Locations Try applying to firms outside of the "top tier" cites such as San Francisco, London, New York, etc. These places, as with the firms located within, are extremely competitive. Instead try places like Edinburgh, Scotland, Hartford, CT or Providence, RI, Oakland, CA that also have great firms but are not as sought after. While no firm wants to be used as a stepping stone, you can leverage this experience to then join your dream firm in a few years. Establishing yourself in a local market gives you a strong employment foundation. This increases your chances of landing a job in a nearby city instead of applying from abroad or with little to no work history. 4. Firm Selection Picking the right firm is very important, I covered this further in How to Create a Target List of Architecture Firms. Really give this some thought. Think about where you want to be in 5-10 years. Will this firm help you get there? How does it align with your goals (professional and personal), current skills and office culture desires? By finding a firm that is a good fit for you, by definition, will make it more likely that you are a fit for them. In addition, many of my readers require some kind of visa sponsorship which further complicates the issue. Target firms with 40+ people as they are more likely to offer sponsorship, since the bigger offices will typically be familiar with this process. 5. Go On Vacation Plan a trip to one of the areas you are targeting. Let the firms know clearly in your applications that you will be there. For example, "I will be in New York from from Dec. 1 - 7th and I would like to meet with you to discuss a potential position." This takes the pressure off of the firm from asking you to travel without the promise of a job. If you do not hear back within a few days, follow up with an email or phone call. Don't worry about being too pushy. Be aggressive with your job search... just don't be annoying. I hope this has been helpful for your architecture job search. Good luck! To help you with your architecture job search, I've created a mega-pack of free resources that includes architecture resumes, cover letters, and an extensive collection of application documents. Click for a free download.  This posting includes an audio/video/photo media file: Download Now |
| Kitchens that Double As Dining Rooms: Architectural Design Inspiration Posted: 21 Nov 2017 10:00 PM PST  © Akihide Mishima Proven to be tied to the areas of the brain responsible for emotion and memory, smells are more tied to a perception of place than any other human sense. And there are few sensations more powerful than the smell of delicious food wafting in from your own kitchen. In that regard, kitchens are the true heart of the home, the space most closely related to joyfulness, childhood, and family. Tenhachi House / .8 Tenhachi Architect & Interior Design © Akihide Mishima Stone House Transformation in Scaiano / Wespi de Meuron Romeo architects © Hannes Henz Lingenhel / destilat © Monika Nguyen Brighton East Interior / Dan Gayfer Design Courtesy of Dan Gayfer Design Kinosaki Residence / PUDDLE © Takumi Ota Surry Hills House / Benn & Penna Architecture © Tom Ferguson The Family Playground / HAO Design © Hey! Cheese My House - The Mental Health House / Austin Maynard Architects © Tess Kelly Moving House / Architects EAT © Derek Swallwell Shrimp / UID ArchitectsUID_photo_Hiroshi_Ueda_UID15.jpg?1511296830 "© Hiroshi Ueda") © Hiroshi Ueda Field Way Bach / Parsonson Architects © Paul McCredie Suburban Dwelling / Roberto Benito © Gonzalo Viramonte Les Tiennes Marcel / Mohamed Omaïs & Olivia Gomes architects © Fernando Guerra | FG+SG Casa dos Abraços / Marlene Uldschmidt © Fernando Guerra | FG+SG Ipes House / Studio MK27 - Marcio Kogan + Lair Reis.jpg?1511297401 "© Fernando Guerra | FG+SG") © Fernando Guerra | FG+SG Lake House / FARQ Arquitectos © Cesar Béjar Casa 2Y / Sebastián Irarrázaval © Felipe Díaz Contardo  This posting includes an audio/video/photo media file: Download Now |
| Hotel Bühelwirt / Pedevilla Architects Posted: 21 Nov 2017 09:00 PM PST  © Gustav Willeit
 © Gustav Willeit The larch wood from the surrounding forests provides a sense of comfort. The slighty rough surface of the plaster reflects the colors of the mountain world through the additions from the nearby copper mine and makes the interior a familiar place. The lamps were hand-crafted in pure copper and the complementary curtains from the local loden factory create a strong regional focus. Special selected and local produced materials generate a familiar and cozy atmosphere.  © Gustav Willeit  © Gustav Willeit  © Gustav Willeit Text description provided by the architects. The green color shade of the blackened wooden facade is influenced by the dark-green, or often black forest tinge, which seem to blend nature and topography with the building. All rooms are reduced on the essential, their view is orientated to the mountains. Characteristic elements of the local building typology were translated and interpreted.  © Gustav Willeit  This posting includes an audio/video/photo media file: Download Now |
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