Arch Daily |
- Haus P / Project Architecture Company + Miriam Poch Architektin
- Spotlight: Adolf Loos
- Rehabilitation of Louis Figuier / NAS architecture
- Cricket Pitch House / Scale Architecture
- Visionary Master Plan Wins Smart City Prize At World Architecture Festival
- Winners of Landmark for Nuclear Waste Isolation Announced
- Brook Bay Residence / SKL Architects
- Spotlight: Steven Holl
- The New York Times Takes Us to the New 7 Wonders of the World with 360 Videos
- Social Tailors / SuperLimão Studio
- Cities Intricately Captured in Thin Line Illustrations
- Paulinum University Leipzig / Erick van Egeraat
- House Overveen / Bloot Architecture
- Farvardin House / Piramun Architectural Office
- Space Renovation of 69 Beishan St. / The Design Institute of Landscape and Architecture China Academy of Art
- The New Swan Stone Castle of OCT / CUBE DESIGN
| Haus P / Project Architecture Company + Miriam Poch Architektin Posted: 09 Dec 2017 09:00 PM PST  © bullahuth Fotografie und Gestaltung
 © bullahuth Fotografie und Gestaltung Text description provided by the architects. On a small plot in the north of Berlin-Pankow, we developed a house for a family of three. Located at the end of a cul-de-sac in a new residential development, the specific spatial requirements and the rules defined by local planning law characterize the exterior volume. The result is a polygonal building with an independent expression.  © bullahuth Fotografie und Gestaltung  Section  © bullahuth Fotografie und Gestaltung At the same time, the monolithic house with its slanting roof and dyed plastered facade uses a casual everyday architectural language. Through the simple and careful choice of materials, the building fits into the neighborhood and enhances it qualitatively.  © bullahuth Fotografie und Gestaltung  Ground Floor Plan  © bullahuth Fotografie und Gestaltung Inside, the open-plan living area with its two-story space above the dining table creates a generous spatial feeling, while the bedrooms and adjoining rooms have a high degree of usability due to their orthogonal layout.  © bullahuth Fotografie und Gestaltung  This posting includes an audio/video/photo media file: Download Now |
| Posted: 09 Dec 2017 08:00 PM PST  Goldman & Salatsch Building. Image © <a href='https://commons.wikimedia.org/wiki/File:Looshaus_Michaelerplatz.JPG'>Wikimedia user Thomas Ledl</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/4.0/deed.en'>CC BY-SA 4.0</a> Adolf Loos (December 10, 1870 – August 23, 1933) was one of the most influential European architects of the late 19th century and is often noted for his literary discourse that foreshadowed the foundations of the entire modernist movement. As an architect, his influence is primarily limited to major works in what is now Austria and the Czech Republic, but as a writer he had a major impact on the development of 20th century architecture, producing a series of controversial essays that elaborated on his own architectural style by decrying ornament and a range of social ills. Adolf Loos's minimalist attitudes are reflected in the works of Le Corbusier, Mies van der Rohe, and many other modernists and led to a fundamental shift in the way architects perceived ornamentation.  © Otto Mayer, Public domain <a href='https://commons.wikimedia.org/wiki/File:Adolfloos.2.jpg'>via Wikimedia Commons</a> Born in Brünn in the Austro-Hungarian Empire (now Brno, Czech Republic) in 1870, Loos studied at the Royal and Imperial State Technical College in Reichenberg (now Liberec) until he left school to serve in the army for two years. Following this, he attended the College of Technology in Dresden and later moved to the United States for three years where he worked as a mason, a floor-layer, and a dish-washer. Eventually, Loos obtained a job working with architect Karl Mayreder in Vienna before establishing his own practice in 1897.  Villa Müller. Image © <a href='https://www.flickr.com/photos/adamgut/3973876219/'>Flickr user adamgut</a> licensed under <a href='https://creativecommons.org/licenses/by-nc-sa/2.0/'>CC BY-NC-SA 2.0</a> Through his writings, Loos desired to establish an intelligent method for designing buildings supported by pragmatic reasoning. His opposition to ornament extended to anything that could not be justified for its rational function. As a result, his buildings were often composed of pure forms and were justified by their economic practicality and utilitarian qualities. His theories on ornamentation were most succinctly revealed in an essay entitled Ornament and Crime in which he states "The urge to ornament oneself and everything within reach is the ancestor of pictorial art. It is the baby talk of painting... the evolution of culture marches with the elimination of ornament from useful objects." Throughout the essay, he explored the notion that ornament results in the undue obsolescence of everyday objects, decrying the use of laborers and therefore financial capital for producing decorative details in contemporary buildings, and ultimately concluding that ornament was a sign of degeneracy.  The interior of the Cafe Museum in Vienna in the 1930s. Image © <a href='https://commons.wikimedia.org/wiki/File:Museum_30erJahre.jpg'>Wikimedia user Querfeld GesmbH</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> His writings and architectural works sparked widespread furore, as they stood in sharp contrast to traditional Viennese design and more recent styles following the Vienna Secession and the Wiener Werkstätte. In writing a comparison between one of his most notable works and Josef Hoffman's Apollo Candle Factory Shop, Loos alludes to the timeless qualities of architecture devoid of ornamentation: "The Cafe Museum, however, designed according to my principles and opened on the same date as the candle shop, will not become unusable until the glue no longer holds the furnishings together."  Interior of the American Bar in Vienna. Image © <a href='https://www.flickr.com/photos/roryrory/2448557706'>Flickr user roryrory</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> Other notable buildings by Loos include his 1910 Goldman & Salatsch Building, overlooking Michaelerplatz, Vienna, as well as numerous private residences such as the Villa Müller in Prague. Many of his works, although controversial, revealed the roots of the modernist movement through their clean white walls and pure forms. Le Corbusier himself considered Loos' Ornament and Crime "an Homeric cleansing" of architecture, revealing the magnitude of his impact on modernist ideology. Check out the links below to find read some of Adolf Loos' writings and to find out more about the unrealized design that could have changed the course of architecture history: The Long(ish) Read: "Ornament and Crime" by Adolf Loos 8 Short Architectural Texts You Need To Know Sam Jacob Studio "Resurrects" Unrealized Adolf Loos Mausoleum in London Cemetery
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| Rehabilitation of Louis Figuier / NAS architecture Posted: 09 Dec 2017 06:00 PM PST  Courtesy of NAS architecture
 Courtesy of NAS architecture Text description provided by the architects. Victor Hugo school group is the oldest school in the city of Montpellier. The school group needed a rehabilitation in order to update its accessibility, create new classes and reorganize the playgrounds encumbered by a multitude of unused items. The aim was to formulate a project around a new articulation, able to introduce a fluidity in movements while bringing new spaces in an already dense islet. This articulation takes form from a suspended courtyard arranged in the center of the island which gives access to the whole building. This element also functions as a playground, a separative and a common place between the two schools  Ground Floor Plan Built as a bridge, the number of support points of the suspended courtyard is very limited, freeing the view between the two playgrounds and using the structural points as storage and sanitary premises. The architectural identity is simple and robust where the structural elements form a base of raw concrete and large poles support the passageways. The guardrails, designed for the safety of children, form an ocher-colored ribbon, recalling the shades of the façade, which follow each variation of the project. Based on a V-shaped structure supporting micro-perforated plates, these guardrails protect as much as they allow to see. The transparency varies with the hours of the day, the orientation of the sun, the angle of view and the proximity to the mesh.  Courtesy of NAS architecture This constant filter makes it possible to create one-off intimacies without ever being restrictive because, despite a height that is quite important for young children, it allows you to see through, you can read the existing façade from the courtyard and see the whole from the school from the corridors. These corridors have been largely designed to provide places of life usable by students and teachers beyond the simple circulation. The Mediterranean climate of Montpellier has been a constraint factor solved by the architecture with caps protecting people's movements during bad weather as well as classrooms, by playing on the shadow on hot days. The corridors also made it possible to eliminate a large number of interior circulations, thus transforming single-oriented classes into crossing spaces to favor natural ventilation.  Section The rehabilitation of public buildings is a real challenge for our contemporary society and a necessary response to urban sprawl. It seems important to us to succeed in changing the existing heritage of downtowns by producing quality spaces without freezing their functionality, thus promoting a constant and perpetual evolution of places.  Courtesy of NAS architecture  This posting includes an audio/video/photo media file: Download Now |
| Cricket Pitch House / Scale Architecture Posted: 09 Dec 2017 12:00 PM PST .jpg?1512789266 "© Brett Boardman") © Brett Boardman
.jpg?1512781687 "© Brett Boardman") © Brett Boardman Text description provided by the architects. The Cricket Pitch House is a free standing dwelling in North Bondi, in Sydney's eastern suburbs. The client's brief for a five bedroom house is centred on a garden suitable for backyard cricket for the growing family.  Ground floor plan  First floor plan Located in a well-established suburban part of Sydney, the building's form recalls the pitched roofs of its environs. The roof ridge runs diagonally across building, creating four different facades, each responding to their orientation. .jpg?1512789338 "© Brett Boardman") © Brett Boardman The linear organisation of the house creates a long north-facing side yard that maximises solar access to the house, while also forming the ideal dimensions for a backyard cricket pitch. .jpg?1512782624 "© Brett Boardman") © Brett Boardman Finely detailed board finished concrete provides texture and mass to the study and entry spaces, while large timber framed glass sliding doors open from the dining and living spaces to the garden.  Section The upper brick volume is punctured by horizontal windows, framed by painted steel surrounds that protect the glass from the intense summer sun. .jpg?1512789918 "© Brett Boardman") © Brett Boardman A light-filled stair void makes a transverse cut through the plan, provides separation between programs and is expressed on the façade with a large steel vertical window. .jpg?1512789715 "© Brett Boardman") © Brett Boardman Working closely with Landscape Architect, Sue Barnsley, the roof garden, backyard meadow and indigenous grove are reimagined to contain native flora purposefully selected to attract birds and insects endemic to the area. .jpg?1512782252 "© Brett Boardman") © Brett Boardman  This posting includes an audio/video/photo media file: Download Now |
| Visionary Master Plan Wins Smart City Prize At World Architecture Festival Posted: 09 Dec 2017 08:00 AM PST  via SHAU Architects Due to rapid population and economic growth, Indonesia is facing issues such as land subsidence and rising sea levels. To combat these problems and more, SHAU Architects created a master plan for the Jakarta Jaya Foundation focused on large-scale land reclamation to integrate green space. By addressing impending challenges, SHAU Architects proposal, Jakarta Jaya: the Green Manhattan, won a Smart Cities prize at the World Architecture Festival 2017. The master plan is envisioned as an ensemble of ecological and social projects in one multiple-grid layout. It will be a pedestrian-based city. Each plot will have special green regulations for buildings and open spaces, covering horizontal and vertical connections between buildings, for example. There will be special architecture and landscape designs for recreation, education and housing, among others, according to SHAU founders and architects, Heinzelmann and Suryawinata.  via SHAU Architects The design team used primarily the Manhattan grid to inform the urban framework on the oval-shaped island, but other city grids inspired the design as well. This organization of urban space would give Jakarta 1.9 million residents new living space, public promenades, parks, and plazas.  via SHAU Architects  via SHAU Architects By integrating Indonesia's prominent shoreline, the master plan gives residents tropical parks, beaches, lakes, and canals, too. Zones are dedicated to coastal communities so fisheries can thrive. Boat moorings are placed adjacent to the fisheries worker's housing compound. In addition, the island will mitigate future flooding with help from the Giant Sea Wall.  via SHAU Architects The new master plan intends to plan for Jakarta's growth sustainably and responsibly through objectives which include: 50% of green and blue open spaces, zero net CO2 emissions, 50% of food self-grown and produced, 80% of water self-provided, 150% of green energy produced, 150% of garbage recycled, 90% car-free zone with automated public and private transport, 1 public white solar car for every 10 inhabitants, 20% of people using boats to commute, 200 m maximum distance between public transportation stops, 20% of commercial buildings dedicated to middle- and low-income housing and marketplaces, and 1:1 people to bicycle ratio.  via SHAU Architects  via SHAU Architects Since 2012, Jesse Kuijper, CEO of the Borneo Initiative, together with Florian Heinzelmann and Daliana Suryawinata of SHAU have been planning Jakarta Jaya: The Green Manhattan as an independent initiative. In 2013, the project was given to the Indonesian government in the Dutch Prime Minister Rutte's bidbook. The plan is designed to be 58 km2 over a 30-year timeframe.  via SHAU Architects News via: SHAU Architects.  This posting includes an audio/video/photo media file: Download Now |
| Winners of Landmark for Nuclear Waste Isolation Announced Posted: 09 Dec 2017 06:00 AM PST  7017: 5,000-Year Geologic Axonometric Projection (12,000' H x 12,000' W x 9,500' D) . Image Courtesy of Arch Out Loud Architectural research initiative, arch out loud, have released winners for their international competition to design a landmark for a nuclear waste site in New Mexico. As part of the brief, participants were required to design a timeless piece of architecture that could stand for 10,000 years to warn future generations of the unstable by-products of nuclear weapon production that are buried 2,150 feet beneath the surface. In the competition, many entrants engaged with the local geology of the site where the waste isolation pilot plant (WIPP) is situated for the landmark that would withstand millenniums. Testbed, the winner of the competition, proposed ex-situ mineral sequestration by reacting olivine or basalt with carbon dioxide to form inert and solid carbonate material to capture the gas, that would act as an 'artificial tree.' The other proposals questioned the site and the underlying issues regarding human involvement with nuclear activities and the consequences, designing structures that heavily juxtaposed the natural landscape.
1st Place: Testbed  Testbed Perspective in 7017 . Image Courtesy of Arch Out Loud From the Architects: Testbed transforms the WIPP area into a climate engineering experiment site to be initially managed by the Department of Energy. Rather than communicating a warning through monument or obstacle, the project manipulates the geology of the site itself by setting in motion an open-ended assemblage of processes that generate an entangled scientific earthwork comprised of agitated hybrid formations, neither natural nor human-made. The project deploys an array of carbon dioxide capturing strategies across the WIPP site, including ex situ mineral sequestration, in situ geologic storage, and direct air capture farms, to generate an active marker system that passively stores one type of energetic byproduct - carbon dioxide - in the surface above another: the transuranic waste secured below. By using climate engineering to create a new geology, Testbed takes advantage of the site's already compromised condition to encumber it through experimentation, doubling down on disturbance to ensure the site will remain undisturbed. Through their continued growth and transformation over time, these new geological forms mark the site as something deeply strange and unfamiliar, communicating its otherness by intervening in fundamental processes. Runner-up: Lodestar  Trench Rendering. Image Courtesy of Arch Out Loud From the Architects: For millennia, cultures across the world have attached deep significance to celestial movements and cycles. Ancient civilizations derived meaning from constellations and planets and wove astrology into mythology and religion. In the second millennium, sailors used the stars to navigate an unknown world. Among these stars, the North Star has held the greatest importance as a means of wayfinding. Lodestar relies on simple architectural gestures to communicate the danger buried deep within the site. Tied to greater celestial movements, the landmark is not dependent on language or a site steward to communicate the passing of 10,000 years. Runner-up: A Crystalline Funeral  View of the Coffins. Image Courtesy of Arch Out Loud From the Architects: How can an isolated landmark reveal itself as a coffin to seal the radioactive nuclear wastes, and how can the crystalline funeral, reveal and warn the considerable influence of human power to the future generation throughout the 10,000 duration of decay of nuclear substance, and probably, the human being as well? Salt crystal, which constantly seals the nuclear substance underground, will be regarded as a metaphoric connection between the funerals on the ground and the ones under it. Extra salt crystals in or around the site will be collected to build series of crystalline coffins, to seal the extinct species, one for each year, an ongoing funeral which lasts for 10,000 years, when the central church seals the last human being. Runner-up: A Storm is Blowing From Paradise  North Corner - Future Day. Image Courtesy of Arch Out Loud From the Architects: A contrast between monument and terrain signifies a tension between geological resources and human affliction. This monument symbolizes a parasitic operation that reaches deep into the darkest side of humanity. It is a memorial for the exploitation of Mother Earth, the Native American mining communities, the genius of scientists, 130,000 individual lives, and the endless generations to come that are affected by these operations. Volcanic basalt stone wraps the perimeter of the 16-mile site. Within this, large boulders fill the interior. These boulders would erode and slip out of the open corners of the monument, eventually to become cemented into the geological strata; a physical recording of anthropocentric presence and perhaps, absence. News via: arch out loud.  This posting includes an audio/video/photo media file: Download Now |
| Brook Bay Residence / SKL Architects Posted: 09 Dec 2017 05:00 AM PST  © Benjamin Benschneider
 © Benjamin Benschneider Text description provided by the architects. Nestled into a Mercer Island hillside, across Lake Washington from Seattle, this intimate two-story residence emphasizes craft, materiality, and connection to the outdoors. The clients' desire for privacy from neighbours is achieved through the home's protective, L-shaped design. A cantilevered wing—containing the master bedroom—aligns with the adjoining property and screens the rest of the house from view to create a private refuge within the L. The cantilevered element captures focused views of Lake Washington. Dark-stained cedar siding wraps the exterior of the private areas of the 4,400-square-foot house, including the master suite. Public spaces are clad with copper panels, which have developed a rich patina. Inside, an open primary living space is wrapped by a band of clerestory windows that bathe the interiors in a balanced light.  © Benjamin Benschneider The design also carves cosier, more intimate areas within the larger space by integrating such features as lowered ceilings and a blackened, steel-faced fireplace that forms an inglenook in the corner of the living room. Wood casework and ceiling plane surface ensure the overall aesthetic is warm and inviting. The master suite—which comprises the bedroom, an adjoining office rendered in walnut, and a spa-like bathroom encased in limestone and eucalyptus cabinetry—provides a soft retreat. Private spaces provide a contrast to the blackened concrete floors and granite of the public spaces. "It's about thinking where you are during the course of the day and how we can make you feel more calm or comfortable," notes the architect.  Floor Plan Collaborations with local craftspeople can be found throughout the home—from entry and interior doors to the blackened steel staircase, a glass and metal chandelier, interior copper panels, and a dining table made of wood, steel and concrete. The entry door features a set of antique Chinese wood panels inset into the blackened-steel framing. Custom-designed furnishings include a wood-and-steel dining table and a glass-topped coffee table in the living area. The interiors and lawn are accented with the clients' extensive art collection, a mix of paintings and sculptures by Pacific Northwest artists.  © Benjamin Benschneider  This posting includes an audio/video/photo media file: Download Now |
| Posted: 09 Dec 2017 04:00 AM PST  Linked Hybrid. Image © Iwan Baan As the founder of Steven Holl Architects, Steven Holl (born December 9, 1947) is recognized as one of the world's leading architects, having received prestigious awards for his contributions to design over the course of nearly forty years in practice, including the prestigious Alvar Aalto Medal in 1998, the AIA Gold Medal in in 2012, and the 2014 Praemium Imperiale. In 1991, Time Magazine named Holl America's Best Architect. He is revered for his ability to harness light to create structures with remarkable sensitivity to their locations, while his written works have been published in many preeminent volumes, sometimes collaborating with world-renowned architectural thinkers such as Juhani Pallasmaa and Alberto Pérez-Gómez.  Steven Holl. Image © Mark Heithoff Holl was raised in Bremerton, Washington and studied at the University of Washington in Seattle, subsequently pursuing studies in architecture in Rome in 1970 and at the graduate level at the Architectural Association School of Architecture in London. Immediately after completing his studies, Holl founded his practice in New York City in 1976. The firm now has offices in New York and Beijing under the direction of Steven Holl and Senior Partner Chris McVoy. Holl and the firm have been the subject of dozens of exhibitions at the Museum of Modern Art and London's Design Museum. Since 1981, Holl has been a tenured professor at Columbia University's Graduate School of Architecture and Planning.  Herning Center of the Arts. Image © Steen Gyldendal Steven Holl Architects is known for its typological and phenomenological approaches to design, aiming to transcend the human experience through the firm's unique approach to location-driven design and programmatic specificity. On their design approach, the firm's mission states that "the phenomena of the space of a room, the sunlight entering through a window, and the color and reflection of materials on a wall and floor all have integral relationships," adding that "the materials of architecture communicate through resonance and dissonance, just as instruments in musical composition, producing thought and sense-provoking qualities in the experience of a place."  Sliced Porosity Block. Image © Hufton+Crow Holl's works define the skylines of some of the world's most design-savvy cities—from Helsinki to Seoul—and have integrated into the urban fabric of many historic cities including Bogota, Berlin, and Amsterdam. Among Holl's most notable projects are the Simmons Hall at MIT, Linked Hybrid in Beijing, Sliced Porosity Block in Chengdu, and the Seona Reid Building at the Glasgow School of Art. His design aesthetic continues to evolve through a progressive interpretation of technology, light, and holism, cementing Holl's status as a global leader in architectural innovation.  Simmons Hall at MIT. Image © Andy Ryan - Steven Holl Architects The firm also has a number of significant projects still to come, including plans for the latest Maggie's Centre at St. Bart's Hospital in London, the Tianjin Ecocity Ecology and Planning Museums, and the expansion of The Kennedy Center in Washington, DC.  Sarphatistraat Offices. Image © Paul Warchol See all of Steven Holl's work published on ArchDaily via the thumbnails below, and more coverage of Holl below those: Steven Holl Named 2014 Praemium Imperiale Laureate Steven Holl Wins 2016 Daylight Award in Architecture Video: Steven Holl Discusses Beijing's Linked Hybrid, 7 Years After Completion Two Short Films Capture the Essence of Steven Holl Architects' Sliced Porosity Block Elia Zenghelis and Steven Holl Share Lessons Learned from a Life in Architecture Steven Holl on Combining Heritage and Modern Healthcare Design at His Maggie's Centre Barts Steven Holl Interview: Not a 'Signature Architect' / Andrew Caruso Video: Steven Holl and Jeffrey Kipnis in Conversation Video: Inside Steven Holl's Reid Building at Glasgow School of Art Watch Steven Holl Take You on A Tour of the Recently Completed 'Ex of IN' House Steven Holl's University of Iowa Visual Arts Building Through the Lens of Aaron Dougherty Take a Tour of the Recently Completed Visual Arts Building at University of Iowa with Steven Holl Reviewing 'Urban Hopes': A Look at Steven Holl's Latest in China VIDEO: Steven Holl on the Sifang Art Museum Video: A Conversation with Steven Holl inside the Daeyang Gallery & House Video: Steven Holl on Columbia University's Campbell Sports Center Steven Holl: "Architecture Needs to be Rekindled with the Other Arts"  This posting includes an audio/video/photo media file: Download Now |
| The New York Times Takes Us to the New 7 Wonders of the World with 360 Videos Posted: 09 Dec 2017 01:31 AM PST  via The New York Times As part of their "Daily 360," The New York Times has released a series of immersive videos exploring the New Seven Wonders of the World, offering viewers the experience of visiting the architectural marvels themselves without having to fly 5000 miles. Back in 2007, the seven monuments were announced after a seven-year poll that included votes by 100 million people who recognized the structural and innovative significance of these masterpieces across the planet. The Daily 360 is a collection of videos by The New York Times; rather than a 2d moving image, they give a real understanding of space, transporting you to the place. Over the last year, their videos have included the Guggenheim, Art Deco masterpieces and memorial architecture from different cultures. Experience the New Seven Wonders of the World for yourself below: Great Wall of China (China)4,000 miles long, the Great Wall of China was built between the 5th century BC and the 16th century to protect against invaders. Christ the Redeemer Statue (Rio de Janeiro, Brazil)The Art Deco-style Christ the Redeemer statue stands 130 feet tall over Rio de Janeiro. It was built in 1931 on Mount Corcovado mainly from donations, costing approximately $250,000. Machu Picchu (Peru)The train journey featured in the video is one of a few ways to access the abandoned 15th-century Incan city. Perched between two peaks in the Andes, it is 2,430 meters above sea level. Chichen Itza (Yucatan Peninsula, Mexico)Chichen Itza was the political and economic center of Mayan civilization; the largest pyramid of the city, El Castillo, is perhaps the most familiar ruin with 365 steps to represent all of the days in the year. The Roman Colosseum (Rome, Italy)Characterized by the mass of arches bearing all three ionic, doric and corinthian orders, the largest amphitheater of the Roman Empire could hold up to 70,000 people. Taj Mahal (Agra, India)An icon of Mughal architecture, the Taj Mahal combines Persian, Turkish, Islamic, and Indian architectural styles, and was commissioned by Shah Jahan as a mausoleum for his wife Mumtaz Mahal. Petra (Jordan)Specifically built along the spice trade route, Petra was a trading city carved into the canyon in the Nabatean Kingdom, which fell to the Romans in 106 AD. Their structures were incredibly advanced, including intricate tunnels and chambers to manipulate water and create an oasis.  This posting includes an audio/video/photo media file: Download Now |
| Social Tailors / SuperLimão Studio Posted: 09 Dec 2017 01:00 AM PST  © Maíra Acayaba
 © Maíra Acayaba Text description provided by the architects. Located at Itaim Bibi, in São Paulo, Social Tailors is an agency specializing in digital media. SuperLimão Studio was commissioned to propose a project for the company's new headquarters that would transform the workspace into a place for sharing knowledge, whose main objective was to keep the team connected and integrated.  © Maíra Acayaba  Plan  © Maíra Acayaba For this, each space was designed and detailed doing everything tailored. With approximately 250 m² and all designed in BIM, the program predicted the following spaces: open space work area, meeting rooms, decompression area, Phone Booth, bathrooms and canopy. Just after the entrance hall is the distribution of all circulations and the whole program becomes perceptive.  © Maíra Acayaba For the area of decompression was developed a multipurpose mobile that allows different configurations and interactions between people. A grandstand that works as a presentation space for all staff, support benches and tables at different heights to work with. In addition, it creates an environment for meetings and quick ideas that do not require the use of meeting rooms. To divide this volume of the circulation of the canopy and bathrooms were developed panels of felt and designed and made by SuperLimão.  © Maíra Acayaba The meeting room is contained in a large volume clad in Tauari wood which stands in a prominent place in the design. Situated in front of the grandstand, this volume contains the meeting room, a phone booth and several service cabinets that cater to both sides of the joinery.  © Maíra Acayaba The work area is formed by work platforms that were designed by SuperLimão for Riccó and today they have become line product of the factory. In this area were installed grids of electric profiles that house acoustic plates of mineralized wood and also luminaires specially designed for the project.  This posting includes an audio/video/photo media file: Download Now |
| Cities Intricately Captured in Thin Line Illustrations Posted: 09 Dec 2017 12:01 AM PST  Courtesy of Marta Vilarinho de Freitas Architect and illustrator, Marta Vilarinho de Freitas has yet again enchanted us with her intricate drawings of cities in thin-line-pen on paper. The Portuguese architect has been exercising her passion in drawing through a series of drawings entitled, Cities and Memory - the Architecture and the City. Fascinated by cities, Marta's illustrations express her connection with architecture while still capturing the romantic and qualitative aspects of each city, its patterns, colors, atmosphere, and light. Marta Vilarinho de Freitas combines fantasy with detailed accuracy in her compositions of stacked building facades, roof pitches, plans and sections along with elements distinct to the city depicted such as Dutch windmills, boats, books, and instruments.The process of creating these drawings is cyclical in that they continue to inform Marta of the spirit of each city as she draws each art piece.  Courtesy of Marta Vilarinho de Freitas  Courtesy of Marta Vilarinho de Freitas  Courtesy of Marta Vilarinho de Freitas  Courtesy of Marta Vilarinho de Freitas  Courtesy of Marta Vilarinho de Freitas  Courtesy of Marta Vilarinho de Freitas  Courtesy of Marta Vilarinho de Freitas Explore more of Marta's work here.  This posting includes an audio/video/photo media file: Download Now |
| Paulinum University Leipzig / Erick van Egeraat Posted: 08 Dec 2017 09:01 PM PST  © Universität Leipzig
 © Universität Leipzig Text description provided by the architects. With the new main building, auditorium and Paulinum, designed by the Dutch architect Erick van Egeraat, the new University of Leipzig, founded in 1409 and the second oldest University of Germany, is now finally completed. The official opening will take place on 1st of December 2017. Prime Minister of Saxony Stanislaw Tillich, will officially open the Paulinum, the last important part of the new campus. Erick van Egeraat says: "By far the most challenging project in my career so far. I am delighted with the final result. It reflects every detail of our design intentions. Leipzig can be proud." Erick van Egeraat won the international competition in 2004. The new Paulinum of the University of Leipzig is situated on the site of the former Pauliner Church, the only church to remain undamaged during the second world war. In 1968 the complex was willfully demolished by the former GDR regime.  © Universität Leipzig  Ground Floor Plan  © Universität Leipzig With the design made by Erick van Egeraat, decades of debate about the reconstruction of university's Pauliner Church came to an end. Erick van Egeraat did not propose to rebuild the church stone by stone but instead created a new building powerful enough to revive the memories of what once was. The inner-city University redevelopment consists of three main elements: the Auditorium (Paulinum), the Main Building (Augusteum) and the Audimax. While the main building opened its doors for the students several years ago, the interior of the auditorium is now officially open to the public. The Aula with Vestry (Andachtsraum), a contemporary interpretation of the former University Church, is a multi-functional space and can be used – like the original church – both for services as well as for academic ceremonies, concerts and scientific conferences. With the original space and its cross vault as a reference, the vault construction is erected from a combination of white plaster works, crossing over into glass columns.  © Universität Leipzig  Section 3  © Universität Leipzig Among others, the auditorium space features two integrated organs and the world's highest transparent sliding doors. These doors with a height of 15,5 meter, divide the church space in two: the secular auditorium for a variety of events and the more contemplative space the so-called 'Andachtsraum'. In this part of the building the Epitaphs, which were salvaged from the ruins of the demolished church are displayed properly restored. The impressive vaults with the glass columns – of which several column pairs do not continue to the floor to increase the functionality – ensure that space, regardless of the glass sliding doors, can be experienced as a united whole. With the opening of the last part of the project – the Paulinum and 'Andachtsraum', the new Leipzig University located at the Augustusplatz in Leipzig, regains her dignified identity and rightfully reclaims her significance for the Leipzig, Germany and the world.  © Universität Leipzig  This posting includes an audio/video/photo media file: Download Now |
| House Overveen / Bloot Architecture Posted: 08 Dec 2017 06:01 PM PST  © Mirko Merchiori
 © Mirko Merchiori Text description provided by the architects. Renovation and extension of a stately row house in Overveen, The Netherlands. The house is located in a dune area and therefore the ground level is higher at the front than at the rear.  © Mirko Merchiori The inside of the house was already taken care of in the 70s and stripped of all period features. The ground floor serves as a living area and was a large narrow space. A spiral staircase with a balustrade made of marine rope led to the basement that consisted of a series of small rooms including a small kitchen. The first and second floors consist of bedrooms and a family bathroom.  © Mirko Merchiori The basement has now been extended so that the existing kitchen has become larger and has now become a real family kitchen with an open view of the back garden. A floating veranda connected to the family kitchen strengthens this relationship. On the floating veranda you can sit with a cup of coffee and dangle your legs.  © Mirko Merchiori The open plan living room is too large for its purpose due to the new kitchen. The basement has a low ceiling and is dark, so creating an open connection between the kitchen and the living room was a logical step to take. The desire to have a roof terrace on the extension led to a connection between the floor of the living room and the roof of the extension. To open up this area and make as light and airy as possible, everything between kitchen and living room is made of glass . The glass is supported by large Douglas beams that are also continued into the extension.  Section A The staircase that runs along a continuous wall between the basement, the living room and the bedrooms creates a visually connecting element between the different spaces and also ensures that the long living room is broken up in a front and back.  © Mirko Merchiori The rest of the basement is open, with underfloor heating and now functions as a play area for the children or as guest room.  © Mirko Merchiori  This posting includes an audio/video/photo media file: Download Now |
| Farvardin House / Piramun Architectural Office Posted: 08 Dec 2017 02:01 PM PST .jpg?1510195534 "© Hossein Farahani") © Hossein Farahani
.jpg?1510195146 "© Hossein Farahani") © Hossein Farahani Text description provided by the architects. Farvardin House is located near the historic Naqshe-Jahan Square of Isfahan, IRAN. Due to construction regulation, it had a height limitation of 9 meters to match the skyline of the neighborhood. In order to compensate the shortage of constructible space, municipality allows contractors to exceed the regular standard of 60% construction area over to maximum 80%. .jpg?1510195239 "© Hossein Farahani") © Hossein Farahani One of the main challenges in this project was reaching the capitation of green spaces, thus, the vegetation was spread out in different floors and also on the roof. This also, led to a redefinition for the roof as a habitable open space to intenerate the skyline. .jpg?1510195443 "Section") Section Also, because of the short distance from the southern neighborhood, the view from this side was limited. Therefore, to fix this issue, the orientation of the view needed to be rotated from south to either east and/or west. This, not only takes care of the limited view, but also leads the viewers' eyes to the existing vegetation on the east and west sides. .jpg?1510195822 "© Hossein Farahani") © Hossein Farahani Regarding to the mentioned challenges, the types of vegetation used in each side are chosen based on the compatibility to the criteria, defined for each side. For example on the west side, plants are chosen to be more resistant to direct sunlight. Moreover, to make a better scene for the pedestrians who walk along this side, some types of falling plants were chosen. .jpg?1510195201 "© Hossein Farahani") © Hossein Farahani On the south side, bushes were considered with an appropriate height to give a fine view of the outside for the house residents. At the east side stairway void, which does not benefit from direct sunlight, Ivies were planted to grow vertically for increasing the visual quality of the stairways. .jpg?1510195791 "© Hossein Farahani") © Hossein Farahani  This posting includes an audio/video/photo media file: Download Now |
| Posted: 08 Dec 2017 12:01 PM PST  Central courtyard. Image © Aoguan Performance of Architecture
 Front view from Beishan St. in the morning. Image © Aoguan Performance of Architecture Origin The project is located in No. 69 Beishan St. Hangzhou, China. The area is about 30 meters both in length and width including three houses built on the site. One of the houses was built in 1930s with a 2-storied western-style, and it was identified as a historical building of Hangzhou. Sadly, it has been forgotten by the public due to its bad maintenance. In the middle of the last century, a famed writer, Mang Shi, had lived in the house, and named it "Jiyi House." It attracted a lot of scholars during his life.  Vestibule. Image © Aoguan Performance of Architecture Present condition The main house was structured during the era of Republic of China with post and pane, and several parts were added in 70's of the last century. The two houses with one floor on the back was intentionally built 10 years later than the main house. There are several trees near the houses, and their ages are the same as the construction's. Because of the house owners' wants, they built a few temporary rooms with simple and precarious structure, and the changes made the space look unorganized and suffocated. The three houses have been abandoned for many years and identified as dangerous buildings.  Main entrance. Image © Aoguan Performance of Architecture Think & ask As they are historical buildings located right side of the West Lake, the way we repair, project, and inherit the historical style of Beishan St. will determine the value of the buildings. We want the buildings to have more than just its own value by showing the beauty of humanity of the West Lake.  Trail to the teahouse. Image © Aoguan Performance of Architecture Design There is a yard with two trees in the middle of this site. All the architectural functions are fully worked around this yard so that the trees look like a real protagonist.  Rendering overall plan. Image Courtesy of The Design Institute of Landscape and Architecture China Academy of Art  Ground Floor Plan Between the entrance of the courtyard and the exterior road, there is an altitude difference of 3 meters with 5 tall trees on the path. The road to the entrance is paved with old slates and Chinese bricks, which were removed from the original houses. We planted Longjing tea trees on the both side of the path, so that it could work like a buffer for the space between inside and outside.  Courtyard and entrances. Image © Aoguan Performance of Architecture The central yard is a quite narrowly spaced, and we handled the exterior wall, making it look like an opposite scenery of the main entrance. We used two different textures of red bricks removed from the original houses, so the contrast of shadow on the wall was able to become strong. In this way, it shows an interesting shadow made under the sunlight.  Sectional Perspective. Image Courtesy of The Design Institute of Landscape and Architecture China Academy of Art The one floor suit, which has the independent courtyard, is on the north side. In order to make the space interpenetrate each other, and take into account the privacy of the room at the same time, we try our best to set up large glass windows.  Courtyard facing North. Image © Aoguan Performance of Architecture There is not too much decoration on the external walls of the building. During the renovation, we hoped that the texture and color of the wall materials would reflect each other. Thus, we did not do any decoration on the red brick and Chinese brick part. For the main house on the street side, we used a gray water ripple paint to retain the historical features of its painted external walls. Thus, people will enjoy this design while visiting the West Lake.  Brick pattern. Image © Aoguan Performance of Architecture The upstairs loft is quite low and narrow while being known as the best location to watch the West Lake. Only the skylight can improve the indoor experience. There could be a gorgeous painting of sky blue and tree green when people look out through the skylight. We re-built the roof, and transformed a part of the roof into a flat terrace. Here, you can take a sip of tea, chat with your beloved, and take enough rest as much as you want.  Attic. Image © Aoguan Performance of Architecture Conclusion The project was completed in October 2016. There was a high volume of hotel guests when we visited the building several times the next year. With regards to renovating the historical buildings, we gave our own views and put them into practice. Thus, the time will tell how the views are well-delivered.  View from terrace. Image © Aoguan Performance of Architecture  This posting includes an audio/video/photo media file: Download Now |
| The New Swan Stone Castle of OCT / CUBE DESIGN Posted: 08 Dec 2017 11:01 AM PST  © Junwei Chen
 © Junwei Chen Text description provided by the architects. A bustling area of vitality can become a city's business card and long-lasting glory, for example, the Upper East Side of New York, the Champs Elysees in Paris, Tokyo's Ginza, Causeway Bay in Hong Kong. Set the right time in one, brings together natural, cultural, commercial and other good resources Area is not only the center of the city, but also naturally become rich concentration. In this birth of the building, like heaven favored in general, destined to be closely watched.  © Junwei Chen Position  Courtesy of CUBE DESIGN Inside and outside the district are gardens, flowers dense forest full of roads, Castle Peak clear water into the house. If Shenzhen is a "city park", then OCT Neuschwanstein is built on top of the park home.  © Junwei Chen Planning  © Junwei Chen The building is light and transparent as a whole. The 9.9-meter elevated ground floor is designed to incorporate natural scenery into the building. The transparent volume under the lake is like a light feather floating on the lake. All buildings are lined up along the lake to maximize their view of the landscape. High-rise and ultra-high-level layout of the two super-high-rise base located in the east and central, to break the gentle skyline, creating a lively and dynamic streamline.  Courtesy of CUBE DESIGN Southeast corner of the building as a preconceived node, combined with the height of the building to increase apartment layout, landscape resources to maximize utilization. Southwest corner of the rational design of building dimensions, leaving out two landscape lines of sight in order to achieve the understanding of existing buildings and respect. Three main lines of sight are reserved in the plan to make the construction temporally sparse and have a better dialogue with the surrounding environment.  © Junwei Chen Facade  © Junwei Chen For the living experience, residential security given to the residents, privacy and comfort, as luxurious sense. Neuschwanstein Castle in apartment construction and facade design, with modern technology and the uniqueness of the material, can protect the privacy of the household, bringing safe, healthy living feeling.  © Junwei Chen Product  Typical Floor 04 in Building C, 9F-17F Odd Floors In addition, sky gardens, private swimming pool, private balconies SPA and other high-altitude facilities for the residents brought extended family, people in more than warm family life more unparalleled recreational enjoyment. All finely designed space, the underground entrance hall, double lobby, courtyard space, etc., each in a meticulous show a gorgeous style, like a five-star hotel.  © Junwei Chen  This posting includes an audio/video/photo media file: Download Now |
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