Arch Daily |
- Yojigen Poketto / elii
- Pink House / Mezzo Atelier
- Informal Cube in Rotterdam / jvantspijker
- Folkart Blu / DILEKCI Architects
- @BATUBATA / Studio Air Putih
- Chongqing Sunac One Central Mansion Sales Pavillion / AOE
- The Fleming Hotel / A Work of Substance
- Future Architecture Platform - CALL FOR IDEAS 2018
- St Martins Community Centre / Plus Architecture
- MINI LIVING's First Permanent Building Will Transform a Paint Factory into a Co-living Hotspot in Shanghai
- Penda Creates "Urban Nest" for MINI LIVING's Shanghai Mini Life Exposition
- Career Academy of Pella / Neumann Monson Architects
- AMO / Rem Koolhaas and the Guggenheim to Conduct Research Project Exploring "Radical Changes in the Countryside"
- Alto de Pinheiros House / AMZ Arquitetos
- Elon Musk, Architects David Benjamin and Kate Orff Among Rolling Stone's "25 People Shaping the Future"
- Marquez Hall at Colorado School of Mines / Bohlin Cywinski Jackson + Anderson Mason Dale Architects
- Architecture Education is Unhealthy, Expensive, and Ineffective. Could Online Learning Change That?
- Moreira Salles Institute / Andrade Morettin Arquitetos
- Parametric Design Helped Make this Street Library Out of 240 Pieces of Wood
- The Luxury Pavilion Built From Recycled Bedsprings
| Posted: 29 Nov 2017 09:00 PM PST  © Imagen Subliminal
 © Imagen Subliminal A dual strategy is applied to this project  Proposal Sketch
On the other hand, the apartment is arranged into two levels: the level at the elevation of the entrance and the main room, plus a second level, 90 centimetres higher up, extending beyond the kitchen surface, where the leisure area and the bathroom are located. The two elevations not only allow different atmospheres to be arranged but also integrate 'additional' functions in the house, such as a deep bathtub in the bathroom, a storage area under the bed, part of the facilities, etc, thus optimising every cubic metre of the house. Secret trapdoors extend the storage space in the overhead areas. A portable stepladder/furniture item is used to overcome the difference in elevation, add storage spaces and double as small grandstands in the living room.  © Imagen Subliminal All in all, the proposal gains the corner of the building, floods it with natural lighting and views to the street, both the deep horizon and the street-level perspective, from the overhead areas. Openings in the furniture extend the indoor cross views from the upper area. The various elevations sport different finishes that produce specific atmospheres. Light colours are used on the walls of the main area to provide as much light as possible. The floor is made of linoleum. The bedroom area has wood finishes and includes a projector on the roof that projects onto a screen from the bed. The bathroom walls, floor and bathtub have a mirror finish to fill this indoor area with light and to augment the feeling of depth.
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| Posted: 29 Nov 2017 07:00 PM PST  © Fernando Guerra | FG+SG
 © Fernando Guerra | FG+SG Text description provided by the architects. In the Atlantic island of São Miguel, in the Azores, an old stable from the beginning of the 20th century was converted into two guesthouses where history and contemporaneity coexist in balance.  © Fernando Guerra | FG+SG The design's main goal was to keep the construction's character, lines, and its rural atmosphere, while adapting the enclosed structure to a completely new typology and contemporary regulations. New openings where carefully shredded in the colored façades, as well as on the stone wall, and a new volume was added to the main construction, allowing for a second, smaller house to appear integrated in the whole.
The bigger house develops in two levels: the ground floor opens to the surrounding exterior spaces and reaches out to it's different heights, creating a semi-level floor where a social space gives access to the private suites and service area. The upper floor contains the social spaces and it was designed as a free plan so it could be taken advantage of the roof's structure and it's full height. From the ochre kitchen there's an access to a terrace situated on top of the smaller ground floor house.  © Fernando Guerra | FG+SG  Ground Floor Plan  © Fernando Guerra | FG+SG  First Floor Plan  © Fernando Guerra | FG+SG New elements, as the exterior stairs, connecting the outdoor terrace, or the use of whitened wood in the interiors, are re-interpretations of the Azorean vernacular architecture, which was important to dignify. The aged pink and ochre tones are the main identity of the area where the building sits. The ochre was traditionally used to frame windows and doors, at Pink House it was used instead on the bedrooms interior shades and kitchen, adding a new kind of relation between inside and outside views.  © Fernando Guerra | FG+SG The interiors and custom made furniture were carefully designed in order to create a neutral and peaceful atmosphere, allowing the garden views to be proeminente on the inside spaces. Local cryptomeria wood ( japanese cedar) was used abundantly for construction and furniture and old wooden beams of pine and acacia, found on site were converted into custom made tables.  © Fernando Guerra | FG+SG  This posting includes an audio/video/photo media file: Download Now |
| Informal Cube in Rotterdam / jvantspijker Posted: 29 Nov 2017 06:00 PM PST  © Ossip van Duivenbode
 © Ossip van Duivenbode Text description provided by the architects. Jvantspijker Architects have designed a sturdy cube-shaped house in the centre of Rotterdam. With its spatial 3-dimensional layout the building allows a modern family to meet the paradoxical demands of urban life: The house provides community as well as privacy to its inhabitants and it is both connected to and sheltered from the street and the surrounding city.  © Ossip van Duivenbode .jpg?1511955460 "Axonometric Longitudinal Section") Axonometric Longitudinal Section  © Ossip van Duivenbode The exterior of plain white bricks encases a plan organized by split-level sections. The house is an urban monolith, albeit one glowing with interior life. The design of the house answers a number of the client's specific spatial demands; a gentle entrance sequence between public-private space, a living room slightly raised above street level, kitchen and dining connected to the garden, a semi-private music room and a roof terrace.  © Ossip van Duivenbode These five ingredients have been interwoven resulting in a playful composition organized around the spacious central staircase. Large windows across the corners of the house catch light from various angles and reinforce the spatial richness of the interior.  This posting includes an audio/video/photo media file: Download Now |
| Folkart Blu / DILEKCI Architects Posted: 29 Nov 2017 04:00 PM PST  © Thomas Mayer
 © Thomas Mayer Text description provided by the architects. Architecture; is the practice of adding something to the world. It is the creation of spaces for people's complex functions rather than the basic instinct of shelter.At the same time, architecture is a method of changing the way of thoughts. Its principle is questioning the reasons for thoughts, searching for answers for its self-gained noticeability... It searches for opportunities, seeks potentials and pushing the limits… Peninsula of Çesme is a very substantial area for Turkey due to its natural beauty and location. Working in such a delicate area gives a different kind of responsibility to the architect. The main aim is to design with the modern spirit of our day considering the area's modest and peaceful environment which will eventually be a landmark for Çesme…  © Thomas Mayer  Third Floor Plan  © Thomas Mayer The Folkart BLU Project is located in a valuable area by the sea in Çesme Peninsula. The project has been designed through meticulous evaluations of various aspects such as climatic conditions and vegetation which has led project program to develop into the way it is at the moment. The building is located strategically where it faces the south and bearing the cold northern wind on its back which is used as well as natural ventilation for cooling. Even though the geometry of the site was challenging, it was not an obstacle to creating the right angles for the perfect views. Each one of the terraces is specially located in a way that has to shade according to sun directions and at the same time is a green area to each occupant. These green areas were created to give every unit a 'floor garden' spirit.  © Thomas Mayer The functions and transitivity of the interior and exterior spaces were the major criteria whilst designing the building. Terraces are designed as the continuations of the units. The inner garden is a serene and shadowy environment which adds a spectacular perspective to the access corridors of each unit. The social facility which is at the same level with the interior garden and the pool holds every possible social need. Simple and natural material choices enhance the architectural power of the building. The project's height is lowered to a three-floor height building which will have a modest silhouette and a harmonic relationship with the sea. Folkart Paşalimanı project will carry Çeşme's architectural perspective to a whole new level with its potentials.  © Thomas Mayer  This posting includes an audio/video/photo media file: Download Now |
| Posted: 29 Nov 2017 02:00 PM PST  © Mario Wibowo
 © Mario Wibowo @Batubata is an office for architecture and interior firm based in Indonesia. This studio is our second building, which the first one was previously tend to be smaller and located among residential area. This current main office is located in a scattered and uniquely disorganized surroundings.  © Mario Wibowo In designing a new studio for our daily workplace, the location and surrounding situation become our main concept. The typology of our neighborhood buildings are spread out and moderate in size. Along with the order of our surrounding buildings, this office also explains aspread in moderate-scale building. Compared to making all rooms into one building, the functions are divided into several building mass. Building masses are spread out on the sole of the land and sparing an empty space in the middle. This spare space in the middle function as in inner court that reminds us the green and amusing ambiance of our previous office.  © Mario Wibowo  Section  © Mario Wibowo The use of bricks as the main important materials of the building gives a various good characters. Bricks is a local material which typically low maintenance and environmentally friendly since it blends well with the surroundings. It gives a good impression towards its emphasis and blending in at the same time. According to our principal experiences, working without view is much more effective, therefore minimal openings are intentionally formed in the façade of this building. If the employees feel a little too unexcited or boring inside the rooms, they are free to work outside of the rooms to freshen up their mood.  © Mario Wibowo From all of the parts of the building, the most interesting part is the reflection of the light that creates shadows through the building. The light and shadow reflection are different every hour everyday, thus it gives different experience and mood everyday.  © Mario Wibowo  This posting includes an audio/video/photo media file: Download Now |
| Chongqing Sunac One Central Mansion Sales Pavillion / AOE Posted: 29 Nov 2017 12:00 PM PST .jpg?1511614757 "© Ligang Huang") © Ligang Huang
.jpg?1511614746 "© Ligang Huang") © Ligang Huang Text description provided by the architects. We are trying to find a way to engage new technology, materials, ideas to excavate the essence of Chinese architectural culture, to create a new form of Chinese architecture adapting to the development of modern era, to return the value of Chinese culture. We hope to use design to regain the essence of Chinese culture and reshape our cultural self-confidence. .jpg?1511614860 "© Ligang Huang") © Ligang Huang SUNAC as one of the largest developers in China will develop a luxury apartment project in Chongqing located on Huxie Road. We are committed to design their sales office. Based on the regulation, the sales office will be converted into a kindergarten after the use as a sales office.The difficulty of the project is that two different functions have completely different requirements for space,  Exploded Axonometric The difficulty of the project is that two different functions have completely different requirements for space, form and appearance. The strategy we adopted is to add another layer of removable green skin, the metal mesh, outside the building for sustainable and imagery purpose. .jpg?1511614918 "© Ligang Huang") © Ligang Huang This layer of skin creates an unique facade of the sales office which is conveyed by the core concept of Chinese architecture from the artistic conception of the expression. Different from the western architecture which are based on stone masonry construction system, ancient Chinese architecture does not use geometric form as the basis of architectural performance, in contrary, the Chinese-style wood structure emphasis more on the expression of architectural logic following the natural law. .jpg?1511614842 "© Ligang Huang") © Ligang Huang Structural components such as pillars, beams, brackets, rafters, Purlin and so on are all exposed, all comply with the natural mechanics of the law, so it will appear without affectation, especially the roof of the arc. The overhangs of the eaves forms the gray space and it creates a vague zone merging the nature and building into one to achieve the symbiotic state of man and nature. The concept of the sales office is in the inheritance of such a concept. .jpg?1511614981 "© Ligang Huang") © Ligang Huang  Section and Analysis .jpg?1511614725 "© Ligang Huang") © Ligang Huang The use of metal fabric as the secondary skin forms a sustainable curtain to protect the building from direct sunlight for energy saving. Also the internal and external space are linked visually and spatially in an elegant transition. Translucent materials presented by the looming visual blur convey a rich level of the depth in space. .jpg?1511614819 "© Ligang Huang") © Ligang Huang At the same time, the graceful arc of metal fabric formed by natural mechanical logic salutes the Chinese architecture which conforms to the logic of natural structure. The elegant modern steel structure are exposed. The translucency together with elegant landscape creates a poetic zen space. Although the architectural form and the material are modern, but the core idea is the same as Chinese architecture philosophy. The Tao Nature, formless is the ultimate sophistication. .jpg?1511615522 "© Ligang Huang") © Ligang Huang  This posting includes an audio/video/photo media file: Download Now |
| The Fleming Hotel / A Work of Substance Posted: 29 Nov 2017 11:00 AM PST  © Dennis Lo
 © Dennis Lo Text description provided by the architects. A Work of Substance was tasked to redesign and rebrand The Fleming Hotel, originally opened in 2006. A new take on the architecture, interior, products, and identity transformed The Fleming into a 66-room boutique hotel that is a true reflection of Hong Kong.  © Dennis Lo  Hotel Main Entrance  © Dennis Lo Occupying a building from the 70s', the hotel stands in Wan Chai close to Victoria Harbour front. The multilayered design concept draws inspiration from the location and history, leveraging Hong Kong's maritime heritage and 70s' industrial era to create a cultural, social and efficient character.  © Dennis Lo One landmark that embodies these three elements is the Star Ferry — having connected people across the harbour for over a century, it is a piece of Hong Kong's collective memory and identity. The Star Ferry, a unique and elegant icon of Hong Kong's past and present, became the foundation for every design detail, including the custom designed furniture and lighting.  © Dennis Lo Nostalgia is further evoked by colours and scents: Carmine reds and bottle greens — hues seen on the hull of Hong Kong's ferries, fishing boats, delivery trucks, and temples —and apothecary-inspired toiletries and custom aroma of sandalwood and amber notes, to deliver an authentic sense of place.  © Dennis Lo We are most proud of meeting the needs of our target audience, and creating a memorable aesthetic impression that captures what Hong Kong feels like. The Fleming now drives foot traffic to the industrial Wan Chai, uplifting aesthetics and rejuvenating culture in the neighbourhood.  © Dennis Lo Our creative strategy was informed by an in-depth research process on international and local hospitality landscape and The Fleming's clientele — businesstravellers. We found that in particular future business travellers expect increasing emotional experience with art and culture, as opposed to traditionally commercial trade-focused.  © Dennis Lo  11-12F  © Dennis Lo Responding to this demand, efficiency, sociability, and culture became the backbone of The Fleming's new experience. Practical systems of storage, conveniently placed light switches and power points, thoughtfully zoned rooms that satisfy different usage, ledges and tracks along the walls that allow for unlimited configuration of the local artwork all support a smooth operation.  © Dennis Lo Sociability is the essence of the layout design and custom made furniture, creating interfaces among guests as well as one to interact with the staff. The reception, for instance, has lounge chairs with movable backrests, creating a flexible and social space.  © Dennis Lo Going beyond meeting the needs of the business travellers, we've curated a multi-sensory cultural experience, hoping each guest leaves Hong Kong feeling nostalgic.  This posting includes an audio/video/photo media file: Download Now |
| Future Architecture Platform - CALL FOR IDEAS 2018 Posted: 29 Nov 2017 10:00 AM PST  With the 3rd Call for Ideas the Future Architecture platform invites multi-disciplinary emerging creatives who work on transformative projects and ideas for the future of architecture to apply for participation in the European Architecture Program in 2018. The Future Architecture platform acts as a key platform for exchange and networking for European architecture and integrates some of Europe's most important architectural events. The platform enables architecture museums, festivals, producers, publishers, agencies, academic institutions and multi-disciplinary emerging professionals to easily connect and build joint projects. The European Architecture program invites emerging talents to get involved with 20 established architectural institutions and organizations throughout Europe and to present their work to the widest audiences. The European Architecture Program 2018 is a series of interconnected activities that include three exhibitions, five conferences, four lecture series, a workshop and a summer school, as well as prototyping and publishing activities. All applications will be published on the website of the Future Architecture platform. Applications will be judged by the board of members, Future Architecture alumni and the public. The selected applicants will be invited to present their idea at the Future Architecture Matchmaking Conference in MAO (Museum of Architecture and Design) in Ljubljana, where Future Architecture members will select the participants for their activities within the European Architecture program. The platform will cover the travel (inside the EU) and accommodation costs of the selected participants for the Matchmaking Conference. Platform members will cover travel (inside the EU) and accommodation costs and provide an honorarium to the participants they invite to contribute to their events. Timetable
EligibilityThe call is open for emerging architects, landscape architects, urban planners, designers, engineers, artists, curators and anyone whose professional work is focused on the future of architecture and living environments. To be eligible as an emerging creative for the Future Architecture platform applicants must meet the following criteria:
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| St Martins Community Centre / Plus Architecture Posted: 29 Nov 2017 09:00 AM PST  © Dennis Radermacher
 © Dennis Radermacher Text description provided by the architects. This new community centre, located in the heart of Christchurch, is an extremely important addition to the city. After two earthquakes, one in 2010, and another a year later in 2011, which claimed the original centre, this new building acts as an important healing device as much as a 'new kid on the block'. Approximately 200 square metres in area, the size of a traditional detached house (relatively modest by current standards), the new community centre could easily be mistaken for a home.  © Dennis Radermacher  Floor Plan  © Dennis Radermacher Plus Architecture's design, which features a single storey with pitched roofs, was constructed partially with bricks recycled from houses in the area damaged during the earthquakes. The arrangement of the recycled bricks also suggests the making of patchwork quilts, something that brings the community together, both for pleasure and in this case, also for healing. Conceived as a home, but with a library, meeting rooms and other community facilities, there's a strong sense of nurturing and domesticity.  © Dennis Radermacher The end result is less a statement - more a warm, friendly embrace. As well as creating a low-slung building with intimate spaces, Plus Architecture also allowed the centre to breathe, with an open-air pavilion and apertures in the walls to provide fluid and interconnected spaces. The centre's walls also double as seating, as well as display cases and quiet nooks for reflection. Private meeting rooms and thoughtfully curated spaces further create a domestic setting.  Section  This posting includes an audio/video/photo media file: Download Now |
| Posted: 29 Nov 2017 08:15 AM PST  Courtesy of MINI LIVING MINI LIVING has revealed plans for its first building-scale project: the transformation of a cluster of six buildings at a former paint factory in Shanghai into an mixed-use "urban hotspot" and co-living facility with space for living, working and socializing. Partnering with Chinese project developer Nova Property Investment Co., MINI LIVING will fill the industrial shells of the existing buildings with a range of adaptable, program-rich spaces including apartments, rentable workspaces and shared-service areas that will enable "maximum personal flexibility and optimum use of space."  Courtesy of MINI LIVING Residential spaces in the building will cater to singles, couples and families of all sizes with a range of term periods. Interiors will feature clean, contemporary materials and finishes, with details inspired by historic Shanghai. Apartment units are designed within small footprints, with surrounding flexible communal spaces to accommodate activities needing larger areas. Intended to become a new hub of activity for the neighborhood, a large portion of the building will be accessible not just to residents but to the surrounding community for Jing'An as well. Public lounges, exhibition areas, gardens, play areas, shops, restaurants and a food market will be open to all, encouraging residents and visitors to mingle. Through the use of architecture, MINI LIVING is aiming to promote social interaction.  Courtesy of MINI LIVING "With MINI LIVING we're looking to create a genuine alternative within the rental market of big cities," says Esther Bahne, Head of MINI Brand Strategy and Business Innovation. "We're offering a place that can adapt to its residents, is flexible and allows room to breathe. MINI LIVING gives residents their privacy, but also enables them to engage with a variety of different people. It makes those first steps into a new city that much smoother. The idea is that our residents really feel at home here." In addition to the physical innovation of the architecture, the project also including a range of unique digital services that will allow residents to restaurant reservations, book room cleaning and service, order food and rent shared vehicles or other transportation options.  Courtesy of MINI LIVING MINI LIVING was launched in 2016 by auto maker MINI to explore new types of living concepts that optimize quality of life in small spaces, keeping in line with the brand's motto, "Creative Use of Space." Recent projects include the "Urban Nest" collaboration with Penda at the Shanghai Mini Life Exposition and a housing prototype for resource-conscious shared living developed in partnership with SO-IL for the Milan Salone del Mobile 2017. "MINI has always been an urban brand. It not only has its finger on the pulse of the city, it injects that pulse with extra energy," explains Peter Schwarzenbauer, Member of the Board of Management of BMW AG, the parent company of MINI. "At MINI we are also well versed in the intelligent use of space; back in 1959 the classic Mini was already maximising the experience available within a very small footprint. MINI LIVING brings this know-how from the vehicles we drive into the places where we live. We are rethinking the idea of living space in the city and developing attractive, need-oriented living concepts. Our aim here is to offer an extremely high quality of life within an extremely small area." Construction on the project is scheduled to begin by the end of the year.  This posting includes an audio/video/photo media file: Download Now |
| Penda Creates "Urban Nest" for MINI LIVING's Shanghai Mini Life Exposition Posted: 29 Nov 2017 08:00 AM PST  © GQ, MINI China Architecture firm Penda has created "Urban Nest," a new small living concept in collaboration with BMW China's MINI LIVING group for the recent Shanghai Mini Life Exposition. The installation is constructed from a series of 3 by 3 by 3 modules housing different program elements that can be combined to create a variety of flexible living arrangements.  © GQ, MINI China Text provided by the architects  © GQ, MINI China  Exploded View Variety  © GQ, MINI China  Plan  © GQ, MINI China Recycle  © GQ, MINI China Urban Planting  © GQ, MINI China Surrounding Architects: Penda  This posting includes an audio/video/photo media file: Download Now |
| Career Academy of Pella / Neumann Monson Architects Posted: 29 Nov 2017 07:00 AM PST  © Integrated Studio
 © Integrated Studio Text description provided by the architects. The 23,000-sf Career Academy of Pella, which provides flexible vocational shops and classrooms, is the product of a unique collaboration among the local school district, community college, private schools, and area industry. Students of all ages gain skills vital to the local economy through STEM instruction, an applied pedagogy integrating science, technology, engineering, and mathematics.  © Integrated Studio  Floor Plans  © Integrated Studio The building, northwest of the existing high school, tucks into the hillside with topographic alignment that minimizes earthwork. Careful detailing of common building materials elevates the rural public school's design. Materials and massing assume a Midwestern, pragmatic sensibility, deriving character from simple forms, monolithic planes, and spanning glass. The rigor of the Career Academy's detailing and execution embodies the technically focused curriculum contained within and affirms the value of vocational career paths. Its confident formal language aligns with the Academy's mission to progressively re-shape the future. Here, students learn skills upon which they can build careers and communities.  © Integrated Studio Central to the building's sustainable mission is its durable flexibility. The structure can calibrate to a range of uses, with a 'loose-fit' that allows for easy future adaptation. General classrooms deliver diverse curricula, maximizing potential use and ensuring long-term value. A double height circulation spine organizes program, gathers daylight, and provides views, and gives access to the various classroom and shop spaces. Each shop has direct access to the exterior.  © Integrated Studio  This posting includes an audio/video/photo media file: Download Now |
| Posted: 29 Nov 2017 06:30 AM PST  Countryside: Future of the World, a collaboration between Guggenheim and AMO / Rem Koolhaas examines radical changes transforming the non-urban landscape opens Fall 2019. Photo: Pieternel van Velden (Koppert Cress, The Netherlands 2011). Image Courtesy of Guggenheim The Solomon R. Guggenheim Museum has announced a new research project exploring the "radical changes in the countryside, the vast nonurban areas of Earth" that will culminate in an exhibition at the museum's Frank Lloyd Wright-designed New York home in Fall 2019. Collaborating with Rem Koolhaas and his firm AMO, the think tank wing of OMA, the project will continue research already conducted by the Dutch architect and students from the Harvard Graduate School of Design.  Countryside: Future of the World, a collaboration between Guggenheim and AMO / Rem Koolhaas examines radical changes transforming the non-urban landscape opens Fall 2019.. Image Courtesy of Guggenheim Led by Guggenheim Curator of Architecture and Digital Initiatives Troy Conrad Therrien, the exhibition will use data gathered from the countryside of today, a realm oft-ignored by city-focused architects, to predict how it will evolve over the near future. Tentatively titled Countryside: Future of the World, research will span a wide range of anthropological and technological topics, including artificial intelligence and automation, genetic experimentation, political radicalization, mass and micro migration, large-scale territorial management, human-animal ecosystems and the impact of the digital on the physical world.  Countryside: Future of the World, a collaboration between Guggenheim and AMO / Rem Koolhaas examines radical changes transforming the non-urban landscape opens Fall 2019.. Image Courtesy of Guggenheim "The fact that more than 50 percent of the world's population now lives in cities has become an excuse to ignore the countryside," said Koolhaas. "I have long been fascinated by the transformation of the city, but since looking at the countryside more closely in recent years, I have been surprised by the intensity of change taking place there. The story of this transformation is largely untold, and it is particularly meaningful to present it in one of the world's great museums in one of the world's densest cities."  Countryside: Future of the World, a collaboration between Guggenheim and AMO / Rem Koolhaas examines radical changes transforming the non-urban landscape opens Fall 2019. Photo: Mikhaylovich Prokudin-Gorsky c. 1909. Image Courtesy of Guggenheim "The Guggenheim has an appetite for experimentation and a founding belief in the transformative potential of art and architecture," added Richard Armstrong, Director of the Solomon R. Guggenheim Museum and Foundation. "We are excited to reengage with Rem Koolhaas, one of today's foremost thinkers and architectural forecasters, and to embark together with a global team of researchers on an intellectual journey that will return the countryside to the cultural radar and yield urgent insights into the ways humans continue to shape and be shaped by the world around us." More information about Countryside: Future of the World will be announced at a later date.  Rem Koolhaas Photo: Fred Ernst, Courtesy of OMA  This posting includes an audio/video/photo media file: Download Now |
| Alto de Pinheiros House / AMZ Arquitetos Posted: 29 Nov 2017 05:00 AM PST  © Maíra Acayaba
 © Maíra Acayaba Text description provided by the architects. The Alto de Pinheiros house program spreads along the ground level taking good advantage of its site. With an L-shaped plan, covered by a large marquee, it encompasses 3 courtyards ensuring the presence of nature in all major spaces of the house. In the second floor, are located the service rooms and the gym.  Scheme Supported by slim metal pillars, a veranda was created along the L-plan's whole inner edge. It connects directly to all living and dining spaces when the sliding doors are open, allowing them full view and direct access to the main garden courtyard. The veranda's wide roof overhang helps shade and avoids overheating of the glass facades.  © Maíra Acayaba In order to improve light distribution, several skylights were created throughout the house guaranteeing natural light to reach the interior. Perforated walls also allow the entry of natural light while preserving privacy in the rooms.  Sections When in the living room, it is possible to contemplate the sky and the adjacent water courtyard. An inner garden separates the dinning, living and intimate spaces.  © Maíra Acayaba The sleeping spaces and family room open up to a more private courtyard that serves as a playground and an intimate outdoor space.  © Maíra Acayaba  This posting includes an audio/video/photo media file: Download Now |
| Posted: 29 Nov 2017 04:20 AM PST  In their latest issue, Rolling Stone has named Elon Musk "The Architect of Tomorrow," as well as listed architects David Benjamin and Kate Orff as two of their "25 People Shaping the Future in Tech, Science, Medicine, Activism and More."  The recently revealed Tesla Semi. Image Courtesy of Tesla Gracing the magazine's cover, Elon Musk is the subject of the magazine's in-depth profile, covering his latest ventures ranging from the new Tesla Semi trucks to SpaceX to his tunnel drilling operation, the Boring Company. "He's probably the only person who has started four billion-dollar companies – PayPal, Tesla, SpaceX and Solar City," Rolling Stone describes Musk. "But at his core, Elon Musk is not a businessman or entrepreneur. He's an engineer, inventor and, as he puts it, "technologist." And as a naturally gifted engineer, he's able to find the design inefficiencies, flaws and complete oversights in the tools that power our civilization." The magazine also selected two boundary-pushing architects to their list of 25 innovators: David Benjamin of The Living and SCAPE studio founder Kate Orff.  The Living's MoMA PS1 Young Architects Program installation, Hy-Fi, was constructed using bricks grown from mushroom. Image © Andrew Nunes Known for his firm's installation at the 2014 MoMA PS1 Young Architects Program, Hy-Fi, Benjamin was selected to the list for his research into renewable building materials that can be grown, reducing the environmental impact of buildings. For Hy-Fi, The Living produced a 40-foot-tower constructed from bricks grown from mushroom root. Other recent projects have included a collaboration with Airbus to create lightweight parts for their airplanes and a proposal to attach sensors to living mussels in New York's East River that will alert passersby to the quality of the water.  SCAPE Studio's Oyster-tecture proposal for New York City's Gowanus Canal. Image © SCAPE Studio Founder of SCAPE Studio and recent MacArthur "Genius" Grantee Kate Orff is also known for her work with New York City's aquatic life. Harnessing the water filtration and wave-breaking abilities of oysters, Orff designed a network of oyster-habitat-supportive net systems that will be introduced throughout the New York harbor as a key part of the city's Living Breakwaters project. Scheduled to begin in 2018, the project was also the subject of a recent episode of the design podcast 99% Invisible. Read more about these architects and see the full list of "25 People Shaping the Future," here.  This posting includes an audio/video/photo media file: Download Now |
| Marquez Hall at Colorado School of Mines / Bohlin Cywinski Jackson + Anderson Mason Dale Architects Posted: 29 Nov 2017 03:00 AM PST  © Nic Lehoux
 © Nic Lehoux Text description provided by the architects. Marquez Hall, the home of the Petroleum Engineering Department at the Colorado School of Mines in Golden, Colorado, is designed to reflect the changing role of energy from petroleum to renewables. The 87,000-square-foot facility accommodates the growing needs of the distinguished engineering program while creating a gateway to a new Earth Science Quad.  Diagram Forming an edge of a pedestrian walkway that connects two main quadrangles, the siting enhances the extraordinary views of the surrounding mountains. The L-shaped plan defines a new courtyard activated with custom designed seating to encourage interaction.  © Nic Lehoux The floor plan is comprised of three bars of program. The northern bar houses a combination of graduate and undergraduate laboratories, a 4-D visualization classroom, and a drilling simulator room. The southern bar holds offices and support spaces to enhance interaction between students, faculty, and research teams. The southeastern wing provides a lecture hall and four levels of smart classrooms and seminar rooms.  © Nic Lehoux The transparent exhibition space and entrance lobby are positioned along Cheyenne Way, a prominent campus thoroughfare. Structurally glazed glass walls hang from the 60-foot cantilevered roof. A series of layers—constructed of glass curtain wall, aluminum plate, and terra cotta cladding—express the program. Metal louvers shade the interior spaces, allowing views of the distant buttes from classroom and laboratory spaces.  © Nic Lehoux  Diagram  © Nic Lehoux Marquez Hall reinforces Colorado School of Mine's vision for the future by looking to the user, to the campus, and to the community to achieve an architectural vocabulary that reflects the school's innovative research and programs.  © Nic Lehoux  This posting includes an audio/video/photo media file: Download Now |
| Architecture Education is Unhealthy, Expensive, and Ineffective. Could Online Learning Change That? Posted: 29 Nov 2017 01:30 AM PST  Gund Hall, home of the Harvard Graduate School of Design. Image © <a href='https://www.flickr.com/photos/peterhess/5827571398'>Flickr user peterhess</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> This article was originally published by Common Edge as "Is Online Learning Really the Future of Architectural Education?" Higher education is on the cusp of a major transition. It's extremely likely that professional training, including that necessary to become an architect, will be conducted primarily online in the relatively near future. This means that design studio classes, a hallmark of the architect's experience, will also happen online, likely without the in-person, face-to-face contact that defines that experience. The shift will eliminate many self-defeating aspects of today's studio culture, but there's also potential pitfalls that need to be addressed, before an online version of that culture acquires its own bad habits. We can do this by pro-actively devising new teaching and working methods that leverage the capabilities of digital education to promote constructive social dynamics between students.
For a good sense of how architecture education can occur online, consider the handful of NAAB-accredited online architecture degrees currently available in the US: Boston Architectural College, Southern Illinois University, and Lawrence Technical University, to name a few. In these programs, students are divided into online groups, similar in size as campus-based studios, and are prompted to interact with each other and their professors in weekly cycles of lessons, assignments and discussion. Lessons are largely video-based, but assignments utilize multi-media uploads of drawings and models students produce offline to conduct an online version of a traditional pin-up. Feedback is given by professors through written comments or online chat, and students are often sorted into small groups to give feedback to each other. The aspect of these programs that frequently earns them the label "low residency," as opposed to "online," is that students are typically required to gather on campus once a semester for an intense week of traditional, in-person studio classes. While this reveals a lingering dependence on a physical classroom, these program's resourceful use of the internet to translate teaching that's otherwise heavily dependent on place is impressive. Now consider the strides being made in the field of Massive Open Online Courses (MOOCs), still fledgling as a format, though expected to replace low-residency distance education when online-only degree programs begin to be recognized by national accreditation bodies (this has already happened in France). MOOCs focused on architectural education are flourishing on platforms like EdX, which hosts noteworthy institutions, such as Harvard's Graduate School of Design and the University of Tokyo. Most of these classes are lecture-based but some emulate a studio format. TU Delft's "Urban Design for the Public Good: Dutch Urbanism," for example, handles unusually large numbers of student project uploads with group Pinterest boards, and professors offer weekly video feedback to the whole class on select submissions. Given the ever-increasing costs of higher education, as well as the tech industry's penchant for "disrupting" traditional aspects of daily life, it's likely that low-residency degrees and MOOCs are the first iterations of an online education format that will soon eclipse campus-based learning, including architectural studies. What's worth noting is that almost every aspect of architecture school's current studio culture, which silently drives the work students produce, is entirely dependent on face-to-face contact between classmates. At a cursory glance, this culture stands to be erased—and that's not necessarily a bad thing. Presently, architecture education emphasizes independent student projects, produced in small groups set in specific classrooms—the studio format. Because this format ensures students spend far more time alone with each other than with their instructors, it often breeds a preference among students to put forth self-justified design solutions drawing on little to none of the institutional knowledge being imparted to them in lecture classes. This means late nights spent working alongside each other in studio, beyond the reach of a professor's guiding hand, drives intense competition between students over things they know little to nothing about yet. This unchecked one-upmanship often leads to undue focus on matters completely unrelated to lessons the professors in the curriculum are attempting to teach in concert. In an online-only degree program, where students produce work at home, by themselves, this condition doesn't exist. Thus, a transition to online education in architecture is a realistic opportunity to discard the aspects of today's studio culture that promote a disconnect between architectural knowledge and its implementation. The benefits of physically separated architectural education, however, also come with a major drawback: it lacks direct exposure to the thoughts, values and working processes of other people. This could lead to a future where all but the best programs are conducted in a cost-effective, online manner, while pupils who can afford face-to-face education pay full price for a premium, in-person experience. To avoid such a schism among future architects, we need to look to the methods of online education for advantages that in-person teaching can't match. The essence of this opportunity is to view new technologies as a means for devising new teaching and working methods, rather than substituting existing ones. Because everything transmitted through a device or over the internet can be traced, tracked and recorded in a way face-to-face interactions cannot, digital education offers many advantages that have yet to be fully realized. In architectural education, this means future advances in areas such as automated text and voice recognition could be harnessed across a massive swath of students to keep activities like professor feedback and small-group peer review aligned with a curriculum's goals. Overtones of privacy invasion are obvious in such a notion today, but that bias might pale in the face of an education system so efficient that nearly anyone interested in becoming an architect (or anything else, for that matter) can pursue their goal without the small fortune or massive debt currently required. Further along the lines of democratization, another strategy for improvement could be to use this transition as an opportunity to change the primary delivery method of students' work from independent projects to group projects. This might help mitigate a lack of face-to-face contact in an online platform, though it may also contain a much larger opportunity. Online group working tools, such as Dropbox's Paper and Google's Sheets, Docs and Slides, are an area of the tech sector currently seeing massive amounts of development. The particularly intense nature of studio work means architecture education's embrace of collaborative digital creation could direct the evolution of such tools to realize some truly innovative capabilities. Such a move is also in line with reforming the social culture of design schools by halting perpetuation of the myth that architects should strive to be singular geniuses rather than part of a multi-talented team. Perhaps the most important attitude we can adopt is that the transition from in-person to online education is bound by forces larger than an architecture curriculum. In this light, it seems likely that today's studio culture will simply transition into an online version of itself which, if the recent history of the internet is considered, might be difficult to change once it's defined. This is why right now is the time to shape the social dynamics of tomorrow's architecture schools in a way that could make the whole profession stronger. Architectural educators should take it upon themselves to drive this change, lest it drive them instead. Ross Brady has built a multi-faceted career spanning architectural practice, marketing and journalism. His work ranges from residential renovations to urban design proposals, to most recently marketing and communications. He maintains an architectural license in New York.  This posting includes an audio/video/photo media file: Download Now |
| Moreira Salles Institute / Andrade Morettin Arquitetos Posted: 29 Nov 2017 01:00 AM PST  © Nelson Kon
 © Nelson Kon Text description provided by the architects. Project for a Museum on Paulista Avenue- the new IMS of São Paulo.  © Nelson Kon It is in this context that the new IMS headquarters will emerge. An institution already consolidated and of marked presence in the Brazilian cultural scene. Owning a precious collection and with extensive experience in the promotion of exhibitions and cultural events, IMS does not have an exhibition space in São Paulo today that is consistent with its possibilities. The new headquarters will supply the concrete need for more space, but it will be much more than that: it is born, above all, the desire to create a place that represents the values and the spirit of the institution. The museum emerges from the inside out and for this reason the new headquarters must be thought in the same way, having as main motivation to be a programmatic and symbolic platform for the IMS.  © Nelson Kon That way, we imagine an accessible museum, anchored in the present, that has a free and direct relationship with the city and, at the same time, offers a calm and welcoming internal environment; a museum capable of balancing the vibration of the sidewalks with the nature and scale of museum spaces; a space that demands a very particular quality of light and perception of time; Finally, a museum of an outstanding character, that provides a unique and personal experience for those who visit it.  © Nelson Kon In order for the proposed building to meet these qualities, we proceed to the analysis and interpretation of two fundamental parameters for the design of the project: the program and the urban context. What was of interest here, beyond the complex functional requirements presented, was to determine the articulations and qualities desired for the museum's internal spaces, as well as to define what kind of relationship was intended to be established between the new building and the city. .jpg?1510050640 "© Nelson Kon") © Nelson Kon The Program From the analysis of the program we elaborate a quantification of the necessary areas and a grouping of the spaces according to their nature, creating a gradient that goes from the most open and permeable to the most restricted and controlled. This diagram represents the intention to reinforce the connections and continuities between the programs open to the public and to preserve the privacy and control of the administrative and service programs. As a result of this reasoning, we must distribute separate circulations to the public, for administrative and areas for loading and services.  Diagram 02  Diagram 10 From this analysis, we also concluded that the spaces should be generous, especially in the exhibition areas, given the role of protagonist that will have within the scheme of the new museum. They must also be flexible and have the controlled environment, with the ideal conditions to accommodate the collection and the different modalities of exposure.  © Nelson Kon  © Nelson Kon With the objective of creating a significant group of programs, we gathered the auditorium, classrooms, multimedia space and library into a single, integrated body, forming the Institute's new Media Library. This set creates an important counterpoint for the exhibition rooms, able to balance the attention within the museum. So, part of the library can work as a convivial space for those who attend classrooms, as these, when integrated, become a small suspended auditorium that relates simultaneously to the library and the foyer. It was also our goal, to bring the various forms of expression and media in a more fluid and continuous space, without losing the necessary restraints for the proper functioning of each space.  © Nelson Kon  © Nelson Kon The Place The Paulista Avenue is one of the few places in the city where we find a huge variety of people and programs living in one place. One of the few places where we have a mixed, plural and more democratic city. This rare quality, coupled with the generous scale and the privileged geographical situation, makes Paulista Avenue one of the most interesting and lively spaces in São Paulo.  Diagram 03  Diagram 05 Adjusting the focus to the surroundings near the new museum, we identified some singularities of that section of the avenue. The intersection with Consolação Avenue translates into a great movement of vehicles and people, due to the proximity of the various subway stations and the bus corridor. The sidewalk, at this point, is narrower, due to the presence of the tunnel just ahead. We are right at the end of the avenue, from which opens a wide look to the valley of the Pacaembu and the spike of Dr. Arnaldo Avenue. The Conjunto Nacional is two blocks away; the MASP, a little further on.  © Nelson Kon The plot, with 20 x 50 meters, is flat and surrounded by buildings from 13 to 18 floors on all sides: a gap in the sequence of profiled volumes along the avenue. This is a truly extraordinary location. On the other hand, when we get inside the lot, at the level of the sidewalk, we realize that the space offers few openings and connections with the surroundings. The questions that we asked at the beginning of this analysis are put again: what is the relationship that we want to establish between the museum and the city and how does this decision affect the articulation of the museum's internal spaces?  © Nelson Kon The Design Approach The solution was to transfer the ground floor of the museum - its main articulating element - from the base to the center of the building, fifteen meters above the level of Paulista Avenue, creating a totally new and open relationship between the museum, the city and its inhabitants. With this displacement, we leave a claustrophobic and restricted condition imposed by the boundaries of the lot, to conquer the view of the city, at the same time we create the possibility of a new articulation of the internal spaces of the museum.  Cortesia de Andrade Morettin Arquitetos This operation has the effect of releasing the level of Paulista Avenue for it to work, together with the first underground, as a distribution platform of the different circulations that feed the building. Conceived as a large urban hall, the level of Paulista Avenue becomes extension of the sidewalk, leading the visitor through escalators and elevators to the heart of the building. It is there that is also the museum's restaurant, fully open to the public, reinforcing the multiple character of the avenue.  © Nelson Kon In this transfer, which refers to the familiar movements of subway stations, there is a first transition from the scale of the city to the scale of the museum. Along the way, the sounds and the agitation coming from the street fade, the intensity and nature of the light change, until you reach the raised ground floor, facing the city, which opens in a totally renewed perspective. Released from a closer and direct confrontation with the street, it was possible to create a vibrant and energetic space, but adjusted to the intensity and the environment desired for the museum. The scale and the time have changed. We are inside the new IMS.  © Nelson Kon  © Nelson Kon As has been said, with this transfer we rebalanced the gravity center of the building, bringing the main programs closer to the ground floor. This result, once again, goes beyond merely functional aspects. It is a question of adjusting the displacements and journeys to the scale and time that are most pertinent to the museum. From the elevated ground floor, the visitor's perception of the program spaces is clear and direct. The ground floor has been converted into a convivial and distribution plaza, which also has a shop and café; above this square, hovering over it, are the exhibition spaces, protected in a closed volume; below, the programs of the Midiateca are grouped, which act as a great meeting space dedicated to cinema, music, literature and, more generally, research and production of knowledge.  © Nelson Kon The warehouses and other areas of support to the museum - such as the temporary storage space for works of art, library collections and varied stocks - are in the 2nd underground. This floor is connected to the rest of the building by means of a large cargo lift and a set of elevators and stairways restricted to staff and technical personnel.  Floor Plan - Floors  Floor Plan - Floors  Floor Plan - Floors The spatiality of the museum is given and perceived, above all, from the voids of the building, which are the spaces of movement and encounter that spread between the program volumes and the facade of the building. The facade materiality, solved with a translucent double-layer glass skin, gives a quality of light that corresponds exactly to what we wanted from the beginning of the project, when we imagined the interior of the museum as a backwater - a quiet and welcoming space for the Visitor. In the same way, the light that takes care of these spaces carries with it the city's trace, bringing into the museum the memory of the world around it.  © Nelson Kon  © Nelson Kon The choice of some materials reinforces this desire to build meaningful relationships with the city. In the elevated ground floor, we recovered the portuguese mosaic floor that for a long time was used in the sidewalks of Paulista Avenue. On the other hand, we use basalt, a material that makes a direct correspondence with the cement of the sidewalks, to cover the entire floor of the museum at street level, in such a way that we have a continuous space.  Axonometric Structure Finally, there is the question of how the building is placed in the city. The use of translucent glass as second skin causes the museum to be perceived as a well-defined volume, intact, with the necessary force to establish its place among the neighbors and other buildings of Paulista Avenue. On the other hand, its properties of light and translucency create for the building a second register, which is changeable depending on the nature of the environment and the position of the observer. As a result, the interior of the museum is subtly manifested in urban space.  © Nelson Kon  This posting includes an audio/video/photo media file: Download Now |
| Parametric Design Helped Make this Street Library Out of 240 Pieces of Wood Posted: 29 Nov 2017 12:00 AM PST  © Emanuil Albert Downtown Studio's latest design for a street library in Bulgaria, that utilizes the tools of parametric design to create a wooden structure that is light and transportable. The project, a natural undulating form that develops in a semicircle, is constructed by a series of wooden modules that provide a public space with shelves to store and share books. From the architects. “Rapana” is the first street library in Varna, Bulgaria created by a team of young architects and designers.  © Emanuil Albert Nowadays young people’s lives are almost entirely based on digital consumption and this decreases the popularity of books among this generation. A team of architects and designers (Yuzdzhan Turgaev, Boyan Simeonov, Ibrim Asanov and Mariya Aleksieva) decided to do what they can to partly solve this issue by building a street library.  © Emanuil Albert Varna is a city located by the sea and is often called “The marine capital of Bulgaria." This is the main reason why the chosen concept shape of the library resembles the shell of a sea snail.  © Emanuil Albert The design was inspired by nature and its organic shapes. The installation takes into  © Emanuil Albert “Rapana” was designed using the parametric design tools Rhinoceros 3D and Grasshopper, which give architects the possibility to try different shapes and variations. Using the software, the team tested over 20 variations, changing the number of vertical and horizontal wooden pieces and their width and height. We ended up with the final design, fitting the budget and the open library’s concept, providing easy access for the readers, sitting spaces, plus a tiny stage for street artists and lounge sessions.    Using the Rhinoceros 3D tools the construction was divided into pieces, which were produced using a CNC machine from a 250 x 125 cm. wooden sheets. The street library was built using 240 wooden pieces and the full capacity of the library is 1500 books.  Architects: Downtown studio  This posting includes an audio/video/photo media file: Download Now |
| The Luxury Pavilion Built From Recycled Bedsprings Posted: 28 Nov 2017 10:00 PM PST  Courtesy of Fahed + Architects Boutique firm, Fahed + Architects have developed a temporary pavilion for Abwab 2017, the highlight of Dubai Design Week that exhibits designers' talent from across the Middle East, North Africa and South Asia. A commitment to the environment is at the core of Fahed + Architects philosophy, so it was necessary to create a structure out of 100% recyclable material from the local waste management company, Bee'ah. The outer skin of the pavilion is a mesh of entwined bedsprings that naturally lends itself to an organic form, floating amongst the surrounding buildings.  Courtesy of Fahed + Architects  Courtesy of Fahed + Architects The mesh created from the different sizes of springs enhances the pavilion, giving it a unique ephemeral quality about the light which speaks of luxury rather than the humble origin of the materials. Due to the natural structure of the springs, it has its own strength whilst dappled light penetrates through and falls onto the exhibit below. The translucent layer of the mesh allows interaction with the exhibit from all angles, uniting art with architecture. .jpg?1511880401 "Courtesy of Fahed + Architects") Courtesy of Fahed + Architects Fahed + Architects' design showcases the potential of reusing materials at the end of their intended life cycle for luxury structures, bringing meaningful recycling to Dubai. Celebrating the material in its purest form, the mesh skin exposes the basic structure in its core to experience the relationship with the ground and form. .jpg?1511881239 "Courtesy of Fahed + Architects") Courtesy of Fahed + Architects  Courtesy of Fahed + Architects News Via: Fahed + Architects.  This posting includes an audio/video/photo media file: Download Now |
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