Arch Daily |
- Water Sports Center Halsskov / Sweco Architects
- Simplexity / URBAN architectes
- Chekhov APi / Askar Ramazanov + Archiproba Studios
- // house / Time Architects
- PEAK House / APOLLO Architects & Associates
- FABER-HOUSE / ONG&ONG + Studio 7B
- Ozora to Daichi no Nursery Shimoigusa / KINO architects
- Joyful House / Mihaly Slocombe
- 6 Star-Studded Teams Shortlisted in Adelaide Contemporary International Design Competition
- Jolla 39 House / Gonzalez Moix Arquitectura + Alejandro Esposito
- Storstrøm Prison / C.F. Møller
- RIBA Announces 2018 RIBA International Prize Longlist for World's Best Building
- Shore House / LSS
- Soon, Architects Will Be Able to Create 3D Models From Inside Their VR Headset
- CityLife Shopping District / Zaha Hadid Architects
- Kate Moss Debuts for Saint Laurent on Steps of Modern Italian Classic
- 798 Panoramic Mural by Drawing Architecture Studio
- Zinc House / OB Architecture
| Water Sports Center Halsskov / Sweco Architects Posted: 13 Dec 2017 09:00 PM PST  © Mads Fredrik
 © Mads Fredrik Text description provided by the architects. The project emphasizes the special raw character of the site, both in the selection of new materials and the recycling of existing ones. The concrete piers have been exposed and fragments of bulwarks and harbour fittings have been preserved. Sweco Architects is the architect and landscape architect for the first stage of the new Water Sports Center in Halsskov. The project is an architectural intervention that will ensure accessibility to the water and water sports activities at the old ferry port.  Site Plan  © Mads Fredrik  Section The diving tower is the area's visible marker. The tower is designed for a jump from 4, 8 and 11 meters and has a distinctive yellow signal colour that can be seen from the Great Belt Bridge. The tower is made of three stacked containers, that turn gradually to generate an interesting interaction between activity, shadows and volumes. As a continuous theme, the project recycles as many materials as possible from the former port, either directly or through upcycling.  © Mads Fredrik  © Mads Fredrik The area's boundaries and benches consist of the former bulwarks from the ferry port, while new wooden decks consist of sawn bulwark. The facility buildings, also built by containers, are covered with heat treated wood from sustainable forestry that ensures minimal maintenance. On the energy side, LED lighting is used to minimize total consumption.  © Mads Fredrik  This posting includes an audio/video/photo media file: Download Now |
| Simplexity / URBAN architectes Posted: 13 Dec 2017 07:00 PM PST  © Julien Forthomme
 © Julien Forthomme «.. we would like a house that looks like us, that seems made for us, on the land that we chose and for a price that we estimate fair and appropriate. » Realizing a "simple" production of architecture often requires a complex reflexive work. To limit all construction costs - foundations, structure, roofing, etc. - we have imagined a compact and rational unity that occupies a minimal footprint and stretches the building upward to stack functions, bring light through the interior spaces and to get a maximum degree of reading of the surrounding landscape.  © Julien Forthomme The natural slope of the parcel has strongly conditioned the position of functions; thus the access is conveniently created on the ground floor, which is directly connected to the street. The entrance hall, conceived as an area of connectivity between the different levels of the project, offers lighting at the lower level thanks to its large bay, which benefits from southern exposure.  Axonometric The parents' space, closed to the entrance hall but connected to the staircases, occupies the ground floor. The half-buried living room has been designed as an intimate and luminous space, directly connected to the garden. The top floor, entirely dedicated to children, is organized around a common area, where one can enjoy a panoramic view from the height of the neighborhood.  © Julien Forthomme As for the black slates, this reinforces the sober and desired identity of the project, while defining the building in the landscape. Some small wooden boxes are also added to the main block to emphasize the entrance and the terrace of the top floor, thought as two contrasting atmospheres that reflect the interaction between this small belvedere and its environment.  Elevation 01  Elevation 03 Starting from a simple volume and a modest budget, a multitude of atmospheres and perspectives have been created in a project that brings richness and complexity together.  © Julien Forthomme  This posting includes an audio/video/photo media file: Download Now |
| Chekhov APi / Askar Ramazanov + Archiproba Studios Posted: 13 Dec 2017 06:00 PM PST  © Ilya Ivanov
 © Ilya Ivanov Text description provided by the architects. The Chekhov APi is hidden in a forest and is not easy to find without having geo-location coordinates. An information pavilion with a terrace is situated at the entrance to the residence and provides shelter from the rain for newly arrived residents and acts as a bus stop between the past and the present, man-made and natural. Next to the pavilion lies the entrance courtyard turned into a Robotic Sculpture Garden by using multiple digital art-objects and installations. The entrance area immerses guests and residents into a special environment of this countryside place.  Map The information pavilion includes several functions: it is a meeting point and a place to learn about the residence, a summer reception, a place to receive all the necessary information regarding events and the opportunities at the residence, a sports equipment rental, a workshop and a storage, a security checkpoint and living headquarters for staff.  © Ilya Ivanov The architecture of the info pavilion follows the branding identity of the residence, the main graphic element of which is a digital grid. The architecture of the pavilion seems as if to drape the natural environment with its elements. The plan of the building is built around tree trunks. The black colour contrasts with the leafy surroundings of the environment cutting it with clear geometric forms. The even grid of the 4x4 meters pavilion's frame overlays on the existing trees and in the places of their absence forms spaces according to the info pavilion's programme. The info pavilion embodies the openness of the residence to people and to nature. The glass surfaces of the pavilion's facade are mirrored reflecting the natural environment and incorporating it into the body of architecture. The columns supporting the roof of the pavilion dissolve in the black colour of the facade, while the roof seems to float over the terrace.  Axonometric The info pavilion is designed as a gadget where details and functional elements can be installed in the course of its use and the development of the residence. One of the pavilion's walls consists of a metal grid filled with frames with letters which are attached by magnets and can be configured in the desired order. The letters form the facade of the inner garden of the pavilion and also carry the principal message of the residence expressed in four words - Healthier, Wiser, Closier, Happier - which zone the entire territory of Chekhov Api.  © Ilya Ivanov The pavilion's lighting allows changing the appearance of the terrace, both automatically during nightfall and manually by adjusting any light scenarios including movement tracking. Each lamp has four LEDs, two warm and two cold shades so the info pavilion can change not only the brightness but also the shade of colour reflecting from the wooden terrace made from larch.  © Ilya Ivanov The terrace of the info pavilion occupies the larger part of the building and is a place to learn about the area with a dedicated art- object called Atlas, situated on the terrace. This art-object acts as navigation source around the science and creative residence and its surroundings, illustrates the topographical and infrastructure development of the area. The Atlas is made of layers of acrylic stone delicately sawed and placed in reliefs emphasizing the landscape's topography and also demonstrating the possibilities of digital fabrication precision. The metallic ring framing more than 400 hectares of territory in a 1:1000 scale serves as a backlight and completely changes the perception of the art-object at night. The light illuminates the end faces of the stone leaving a shadow on its horizontal relief surfaces making the object an inversion of its daytime appearance. This futuristic view of the Atlas corresponds to the place and residents who come here.  © Ilya Ivanov The pavilion forms the facade of the courtyard, the Robotic Sculpture Garden where several robotic sculptures are being installed, with two already in the process of installation - APi Tree and Chekhov Ai. APi Tree is a robotic tree with a height of 8 m and a crown diameter of 6 m. The art-object consists of 62 mirrors of different diameters controlled by microrobots. The APi Tree can watch what's happening, recognise familiar residents and greet them using cameras installed in its trunk. The system of computerised vision is also capable of recognising human emotions and responding with the movement of mirrors, including extending 30 mirrors to 0.5 meters. The robotic tree is situated at the entrance and acts as a butler welcoming guests and residents. Having recognised a resident, the APi tree can help the person open the entrance gates or register for an event.  © Ilya Ivanov The Chekhov Ai robotic typographic sculpture is controlled by two robots and artificial intelligence. The 8x25 meters metal structure serves as a frame on which two robots move and place letters. The robot takes a letter from storage at the bottom of the structure, calculates the fastest route to the cell and places it in the letter's location. The text creates the core of artificial intelligence, trained in literary works by Anton Chekhov to write in the writer's style and also creates text based on what's happening in the residence. The sculpture is capable of writing dozens of lines per day autonomously.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 13 Dec 2017 04:00 PM PST .jpg?1513106347 "© Quang Trần") © Quang Trần
.jpg?1513106050 "© Chimnon Studio") © Chimnon Studio Text description provided by the architects. I believe in God. Only I spell it Nature. -Frank Lloyd Wright- The family members are all Christians. To them, belief is the most important. They want this new house to be modern, on the other hand, it must contain tradition. .jpg?1513106236 "© Quang Trần") © Quang Trần Studying the context and the Investor life, the quest for the architects is to find "God" in "Nature" and bring Him to form, in Nature: Light, Wind, The Green,...  Section Diagram Inspired by the space order of the traditional house, with patios, intermediate spaces, louvre doors ... are "transformed" to a "Cover", fitting the needs of living. The "soft-cover", takes the role as an in-out environment filter as well as enhancing the interactions between homeowners and neighbors. The voids in the house are the "storage" for future "changes". The separating-wood floors are used instead of the concrete, solid floors. Through the voids, Nature, in form of lights and winds, spreads throughout the house. Wherever the place in this house, people can feel Nature surrounding them, changing as time goes by. .jpg?1513105887 "© Quang Trần") © Quang Trần With this, the bonds, the connections, the communications between people are strengthened. .jpg?1513106408 "© Quang Trần") © Quang Trần  This posting includes an audio/video/photo media file: Download Now |
| PEAK House / APOLLO Architects & Associates Posted: 13 Dec 2017 02:00 PM PST  © Masao Nishikawa
 © Masao Nishikawa Text description provided by the architects. This home is located in the old town area of eastern Tokyo, where the atmosphere of an industrial district still lingers. The client, who works at a large advertising agency, and his wife purchased the building site in an area where they had lived in for some years. Their primary request with regard to the design was that the house have a courtyard.  © Masao Nishikawa The three-story structure has reinforced concrete walls on the three sides facing neighboring homes, with open lines of sight only on the side facing the road. To prevent passersby from seeing inside, one-way mirror glass covers the large openings on the street side. On the southeast side, a courtyard topped with a void brings light and air into the home without loss of privacy, creating a resort-like atmosphere despite the urban location.  © Masao Nishikawa  Sections  © Masao Nishikawa The piloti-style garage on the first floor is separated from the covered entryway by a glass wall and steel door for enhanced security. The first floor includes a bathroom with adjacent miniature garden of the type often found in hotels, and the client's study. The study is floored with tatami mats and can be used as a guest room as well as for working at the Japanese-style desk. On the second floor, a large open-plan living, dining, and kitchen area faces the courtyard, bringing the pleasures of outdoor living into the urban setting. The low ceiling in the kitchen and dining areas contrasts with the two-story void above the living room and courtyard, which interact dynamically as light from the skylight plays over them. On the third floor the master and children's bedrooms sit side by side. A bridge, which is accessible from the bedrooms, offers a sweeping view over the interior and exterior scenery. This small urban home represents a contemporary take on Japan's machiya-style townhouse―here arranged vertically rather than horizontally, as is traditional―that offers a variety of places for the residents to relax as they move through the space.  © Masao Nishikawa  This posting includes an audio/video/photo media file: Download Now |
| FABER-HOUSE / ONG&ONG + Studio 7B Posted: 13 Dec 2017 12:00 PM PST  Courtesy of ONG&ONG
 Courtesy of ONG&ONG Text description provided by the architects. Introduction  Courtesy of ONG&ONG The architects approached this project with an underlying design ethos that was subtle yet distinctive, where clean flowing lines and thoughtful material selection culminates in an elegant design with undeniably bold touches. FABER-HOUSE features two rectangular volumes stacked atop one another, forming the core of the residence. A sand-coloured wood panel façade lines the entrance foyer, separating the stone-lined driveway from the lap pool and outdoor deck just behind. Made from zircon wood, the façade at the entrance foyer first introduces the timber motif that manifests throughout FABER-HOUSE.  Courtesy of ONG&ONG Ground Floor  Courtesy of ONG&ONG  Lower Floor Plan  Courtesy of ONG&ONG The familiar timber motif from the entrance is repeated, framing a panel concealing tasteful artwork - demarcating the breathlessly spacious living area from the adjoining kitchen area. Unfolding these panels reveals a true chef's dream. Sleek, dark finishes of stone and tile work to embolden the space, where a striking single kitchen island commands the room. Top of the line kitchen facilities is stylishly arranged, as space was conceived as a culinary laboratory where the resident chef in the family can turn all manner of gastronomic fantasy into appetizing reality. A spectacular sculptural staircase occupies the double volume space, connecting the different levels of FABER-HOUSE. Fabricated from folded black sheet metal, the staircase serves to segregate basement and ground floor common areas from the private quarters on the top floor. As guests are led to the cavernous basement entertainment area, leaving the upper floor strictly for family.  Courtesy of ONG&ONG Basement  Section Upper Floor  Courtesy of ONG&ONG Green planter spaces in the master bathroom's shower and commode not only provide an organic touch, but also serve as natural air wells assuaging internal circulation. The final, and perhaps most striking, feature found at the FABER-HOUSE residence is the perforated metal mesh screen that encases the second storey. Lending the property an elevated sense of privacy, the aluminium screen obscuring the home from neighbouring houses nearby. Emblazoned with the unmistakable silhouette of a lush, tree-lined forest, the screen not only acts as a shield from the sun's heat and glare, but also introduces a tantalizing interplay of light and shadow throughout the day.  Courtesy of ONG&ONG  This posting includes an audio/video/photo media file: Download Now |
| Ozora to Daichi no Nursery Shimoigusa / KINO architects Posted: 13 Dec 2017 11:00 AM PST  © Kai Nakamura
 © Kai Nakamura Text description provided by the architects. The enlargement of the nursery school is considered to be urgent business for children on nursery school waiting lists in an inner city in Japan. However, it is often objected as a noise source by neighborhood.  Plans Children spend their time there comfortably, and the neighborhood feel favorably to children. That situation will be most suitable. In urban environment, to make such a normal situation is difficult. It is an issue how we enable the most suitable situation.  © Kai Nakamura This nursery school is in high-density town, and the land is strange form. I designed the foyer which crossed the building of this nursery school to make a suitable situation between this nursery and the neighborhood. Only the both ends of this long foyer faces on public roads.  © Kai Nakamura The foyer becomes the buffer from the neighborhood. They feel neither the figures of children nor bright voice, so often. Also the foyer fills the role as large playing space for children. When children look up at high-windows, they can feel solar light to change every moment there. Colors of window-jamb are selected by the color of neighborhood roofs using Google-Earth. In near future children can find same color in the neighborhood. This color project is collaboration with Swiss artist Hans-Peter Kistler.  © Kai Nakamura It is sometimes difficult to secure large school garden in the inner city. In such case the park of the neighborhood functions as the garden. In this nursery school, there are several small terraces for swimming pool in the summer and for the infant groups in all season.  © Kai Nakamura The neighborhood feel the figures of children sometimes, not so often with the best balanced situation. The nursery schools are taken favorably by neighborhood, then the activity of children makes the city attractive.  © Kai Nakamura  This posting includes an audio/video/photo media file: Download Now |
| Joyful House / Mihaly Slocombe Posted: 13 Dec 2017 09:00 AM PST  © Tatjana Plitt
 © Tatjana Plitt Text description provided by the architects. Joyful House is a fun and brightly coloured addition to a weatherboard worker's cottage on the outskirts of Geelong.  © Tatjana Plitt With the arrival of their third child, our clients asked us to open the rear of their house to provide a variety of light-filled spaces for their energetic young family. Our intervention retains original bedrooms, adding new services and a multifunctional living room that opens onto the generous back garden. The addition contrasts in colour and form to the original cottage and surrounding streetscape, a black-clad counterpoint to white weatherboard.  © Tatjana Plitt The roof structure, ceiling and upper walls of the living room are dipped in Dulux Joyful. Careful window placement helps this bright yellow canopy bounce sunlight into every nook and cranny. A translucent fibreglass roof over the deck helps pour in even more daylight, and feels like an outdoor extension to the living room. The steeply sloping roof gives height to the living functions downstairs and makes room for a cheeky mezzanine retreat above.  Ground Floor Plan  Section  Mezzanine Plan We took extra care in selecting materials that will weather the storm of growing children: hardwood timber floors, plywood joinery and sisal carpet are warm to touch and bounce back well from wrestling matches and art days. Circular cutouts in cupboard doors are perfect for small hands and inquiring minds.  © Tatjana Plitt Our clients' ambitions for Joyful House were substantial, but their budget wasn't. We collaborated closely with the builder, Little Constructions, and a range of local craftsmen to keep a lid on costs. During the design and documentation process, we met regularly to keep economy and luxury in balance. We used standard construction processes and humble materials throughout the house, but worked hard to have them punch above their weight. The result is a beautiful, welcoming and vibrant house that cost very little to build.  © Tatjana Plitt  This posting includes an audio/video/photo media file: Download Now |
| 6 Star-Studded Teams Shortlisted in Adelaide Contemporary International Design Competition Posted: 13 Dec 2017 07:25 AM PST  An aerial view of downtown Adelaide. The University of Adelaide can be seen on the left side of the photo. © Wikimedia user Normangerman at English Wikipedia. Licensed under CC BY-SA 3.0 Six star-studded teams have been shortlisted in the Adelaide Contemporary International Design Competition, which is seeking to create a new contemporary art museum and public sculpture park on a significant site near the University of Adelaide and the Adelaide Botanic Garden in Adelaide, Australia. Selected from 107 teams made up of over 500 individual firms, the six shortlisted teams were chosen through the "outstanding quality" of their initial submissions and for the complementary strengths of each of the team members. "This is an extraordinarily rich list of diverse creative partnerships of architects looking to complement their talents by working with both peers and smaller talented practices. The final decision was very demanding but these are the teams that convinced us through the outstanding quality of their submissions," said Nick Mitzevich, Director, Art Gallery of South Australia. The six shortlisted teams are:
Teams will now move on to the next competition stage, where they will produce conceptual designs for the site. Each team will visit the site in January, and will receive an honorarium of AU$90,000 for their competition work. The submissions will be revealed to the public in April, with a winner to be selected in May. "The six teams all showed a strong connection with Adelaide – and understood that our aim is not to create an off-the-peg architectural icon but a piece of Adelaide, an entity that will be sustainable and polymathic in the way it enhances the social, cultural and architectural fabric of the city," added Mitzevich. The competition is organized by Malcolm Reading Consultants. Learn more about the project on the official competition website, here.  This posting includes an audio/video/photo media file: Download Now |
| Jolla 39 House / Gonzalez Moix Arquitectura + Alejandro Esposito Posted: 13 Dec 2017 07:00 AM PST  © Ramiro Del Carpio
 © Ramiro Del Carpio Text description provided by the architects. We understand that all architectural experience is multi-sensorial and embraces qualities of matter and not matter, of the closed and open space, of accurate or ambiguous space, of textures, reflections, of the human scale among others. We were interested in exploring processes where mass and light became the raw material for building a timeless container, which embraces a specific program and enters into direct communion with the site.  © Ramiro Del Carpio  First Floor Plan  © Ramiro Del Carpio  Second Floor Plan  © Ramiro Del Carpio The decision to live on the beach for seasons, involved a series of approaches that discuss a way of life that transits between private and public, and make us wonder how to control that privacy and quiet without losing the concept of the spatial relationship between the interior and exterior, added to an extensive needs program. An exterior volumetry is generated as a respond of the structural pattern, a succession of exposed concrete porticos and carpentry, as it generates a dynamic sun and shadow rhythm. This decision generates verticality to the facade, and integrates the ground floor with uses of rest with the upper floor which houses the flexibility of social life, thus breaking with the horizontality of the piece of ground and neighboring houses.  © Ramiro Del Carpio A simple floor plan and distribution tries to align the structure, function and program in a language that reflects noble architecture, for the quality of its materials and spatiality. While the container emanates a solid image which responds to the passage of time and the erosion of the coast, the filtered lights, dynamic textures and tones expresses different sensations, interior and exterior atmosphere.  © Ramiro Del Carpio  This posting includes an audio/video/photo media file: Download Now |
| Storstrøm Prison / C.F. Møller Posted: 13 Dec 2017 05:00 AM PST  © Torben Eskerod
 © Torben Eskerod Text description provided by the architects. Storstrøm Prison will be the setting for the world's most humane and resocializing closed prison, with architecture which supports the inmates' mental and physical well-being and also ensures a secure and pleasant workplace for employees.  © Torben Eskerod One of the project's major architectural challenges is for the high-security prison, which can accommodate around 250 inmates, to be less institutionalised.  © Torben Eskerod  Standar Wing Ground Floor  © Torben Eskerod The overall architectural approach is to create a building on the same scale and with the same structure as, including streets and squares. This will ensure a familiar and varied experience of the prison environment and keep the prison's institutional atmosphere to a minimum. The townlike structure also resembles the surrounding villages, and is thus a natural element of the landscape.  © Torben Eskerod To create further variation, facades and roof ridges are angular in different ways and the facade materials alternate between light-coloured bricks and a combination of concrete and galvanised steel – all durable materials which weather beautifully and do not need much maintenance.  © Torben Eskerod The cells are gathered in units comprising four to seven cells, placed around a social hub. The units have access to a living room area and a shared kitchen, where the inmates prepare their own meals. The living room areas are decorated in colours which are less institutional, just as structurally-integrated art and artworks created especially for the prison can be found throughout the prison.  © Torben Eskerod  Cell Axonometric  © Torben Eskerod Daylight is important for people's well-being and each cell has daylight flowing in from two windows, from where the inmates also have views of the surrounding landscape and the sky. Physical activity is also important for the inmates' mental social welfare, and both indoors and outdoors, there are opportunities for sport, games and physical exercise.  © Torben Eskerod  This posting includes an audio/video/photo media file: Download Now |
| RIBA Announces 2018 RIBA International Prize Longlist for World's Best Building Posted: 13 Dec 2017 04:20 AM PST  Courtesy of RIBA The Royal Institute of British Architects (RIBA) has revealed the 2018 RIBA International List, the longlist of buildings in the running for one of the world's most prestigious architecture awards, the RIBA International Prize. The biennial award considers the world's best new buildings completed in the past two years that exemplify "design excellence, architectural ambition and delivering meaningful social impact." This year's longlist features 62 projects from around the world, more than double the number selected for the longlist of the inaugural prize in 2016. "The RIBA International List 2018 shines a light on the world's best new buildings and most impressive architectural talent," said RIBA President, Ben Derbyshire. "Most importantly, this significant selection of 62 projects illustrates the meaningful impact and transformative quality that well-designed buildings can have on communities, wherever they are in the world." The shortlist for the RIBA International Prize will be selected from this list by a Grand Jury led by esteemed architect Elizabeth Diller of Diller Scofidio + Renfro. The overall winner of the RIBA International Prize will be announced in December 2018. Grafton Architects' Universidad de Ingeniería y Tecnología (UTEC) in Lima won the inaugural RIBA International Prize in 2016. RIBA International List8 Chifley Square; Sydney, Australia / Rogers Stirk Harbour + Partners with Lippmann Partnership, Arup (Australia)  8 Chifley Square; Sydney, Australia / Rogers Stirk Harbour + Partners with Lippmann Partnership, Arup (Australia) © Brett Boardman AP House Urbino; Pieve di Cagna, Italy / Gardini Gibertini Architects  AP House Urbino; Pieve di Cagna, Italy / Gardini Gibertini Architects © Ezio Manciucca Audain Art Museum; Whistler, British Columbia, Canada / Patkau Architects  Audain Art Museum; Whistler, British Columbia, Canada / Patkau Architects © James Dow Baan Huay Sarn Yaw - Post Disaster School; Chiang Rai, Thailand / Vin Varavarn Architects  Baan Huay Sarn Yaw - Post Disaster School; Chiang Rai, Thailand / Vin Varavarn Architects © Pirak Anurakyawchon Baitasi House of the Future; Beijing, China / Dot Architects  Baitasi House of the Future; Beijing, China / Dot Architects © Qingshan Wu  BBVA Bancomer Tower; Mexico City, Mexico / Rogers Stirk Harbour + Partners with Legorreta + Legorreta © Dolores Robles-Martinez Beyazıt State Library; Istanbul, Turkey / Tabanlıoğlu Architects  Beyazıt State Library; Istanbul, Turkey / Tabanlıoğlu Architects © Emre Dorter Bremer Landesbank Headquarters; Bremen, Germany / Caruso St John Architects  Bremer Landesbank Headquarters; Bremen, Germany / Caruso St John Architects © Hélène Binet Buendner Kunstmuseum Chur; Chur, Switzerland / Barozzi Veiga  Buendner Kunstmuseum Chur; Chur, Switzerland / Barozzi Veiga © Simon Menges Cabbage Tree House; Bayview, Australia / Peter Stutchbury Architecture  Cabbage Tree House; Bayview, Australia / Peter Stutchbury Architecture © Michael Nicholson Captain Kelly's Cottage; Tasmania, Australia / John Wardle Architects  Captain Kelly's Cottage; Tasmania, Australia / John Wardle Architects © Trevor Mein Central European University - Phase 1; Budapest, Hungary / O'Donnell + Tuomey with M-Teampannon Kft  Central European University - Phase 1; Budapest, Hungary / O'Donnell + Tuomey with M-Teampannon Kft © Tamás Bujnovszky Children Village; Formoso do Araguaia, Brazil / Alephzero with Rosenbaum  Children Village; Formoso do Araguaia, Brazil / Alephzero with Rosenbaum © Leonardo Finotti City Hall Deventer; Deventer, The Netherlands / Neutelings Riedijk Architecten  City Hall Deventer; Deventer, The Netherlands / Neutelings Riedijk Architecten © Scagliola Brakkee Cluny Park Residences; Singapore / SCDA  Cluny Park Residences; Singapore / SCDA © Aaron Pocock Cuernavaca House; Mexico City, Mexico / Tapia McMahon  Cuernavaca House; Mexico City, Mexico / Tapia McMahon © Rafael Gamo Empower; Khayelitsha, South Africa / Urban-Think Tank, ETHZ  Empower; Khayelitsha, South Africa / Urban-Think Tank, ETHZ © Jan Ras EY Centre; Sydney, Australia / Francis-Jones Morehen Thorp  EY Centre; Sydney, Australia / Francis-Jones Morehen Thorp © Brett Boardman Factory In The Forest; Penang, Malaysia / Design Unit Sdn Bhd with Chin Kuen Cheng Architect  Factory In The Forest; Penang, Malaysia / Design Unit Sdn Bhd with Chin Kuen Cheng Architect © Lin Ho Garden Tower; Wabern, Switzerland / Buchner Bründler Architekten  Garden Tower; Wabern, Switzerland / Buchner Bründler Architekten © Michael Blaser GS1 Portugal; Lisbon, Portugal / PROMONTORIO  GS1 Portugal; Lisbon, Portugal / PROMONTORIO © Fernando Guerra Joolz; Amsterdam, Netherlands / Space Encounters Office for Architecture  Joolz; Amsterdam, Netherlands / Space Encounters Office for Architecture © Jordi Huisman Kannikegaarden; Ribe, Denmark / Lundgaard & Tranberg Arkitekter  Kannikegaarden; Ribe, Denmark / Lundgaard & Tranberg Arkitekter © Anders Sune Berg Kericho Cathedral; Kericho, Kenya / John McAslan + Partners with Triad Architects  Kericho Cathedral; Kericho, Kenya / John McAslan + Partners with Triad Architects © Edmund Sumner King Fahad National Library; Riyadh, Saudi Arabia / Gerber Architekten .jpg?1513180183 "King Fahad National Library; Riyadh, Saudi Arabia / Gerber Architekten © Christian Richters") King Fahad National Library; Riyadh, Saudi Arabia / Gerber Architekten © Christian Richters Kunstmuseum Basel; Basel, Switzerland / Christ & Gantenbein  Kunstmuseum Basel; Basel, Switzerland / Christ & Gantenbein © Rory Gardiner Lanka Learning Center; Eastern Province, Sri Lanka / feat.collective  Lanka Learning Center; Eastern Province, Sri Lanka / feat.collective © Barbara Vetter  M4 Metro Line Budapest; Budapest, Hungary / Palatium Studio with Budapesti Építőművészeti Műhely, Gelesz és Lenzsér Építészeti, Puhl és Dajka Építész Iroda, sporaarchitects, VPI Építész Studio and Palatium M4 Projekt © Tamás Bujnovszky  MAAT; Lisbon, Portugal / AL_A © EDP Foundation Maersk Tower, extension of the Panum complex at the University of Copenhagen; Copenhagen, Denmark / CF Møller Architects  Maersk Tower, extension of the Panum complex at the University of Copenhagen; Copenhagen, Denmark / CF Møller Architects © Adam Mørk Mount Herzl Memorial Hall; Jerusalem, Israel / Kimmel Eshkolot Architects in collaboration with Kalush Chechick Architects  Mount Herzl Memorial Hall; Jerusalem, Israel / Kimmel Eshkolot Architects in collaboration with Kalush Chechick Architects © Amit Geron Msheireb Museums; Doha, Qatar / John McAslan + Partners  Msheireb Museums; Doha, Qatar / John McAslan + Partners © Edmund Sumner Mulan Weichang Visitor Centre; Weichang, China / HDD .jpg?1513180072 "Mulan Weichang Visitor Centre; Weichang, China / HDD © Shengliang Su") Mulan Weichang Visitor Centre; Weichang, China / HDD © Shengliang Su Musee d'arts de Nantes; Nantes, France / Stanton Williams  Musee d'arts de Nantes; Nantes, France / Stanton Williams © Cécile Clos Museum Voorlinden; Wassenaar, The Netherlands / Kraaijvanger Architects  Museum Voorlinden; Wassenaar, The Netherlands / Kraaijvanger Architects © Ronald Tilleman National Design Centre; Singapore / SCDA  National Design Centre; Singapore / SCDA © Aaron Pocock Oasia Hotel Downtown; Singapore / WOHA Architects  Oasia Hotel Downtown; Singapore / WOHA Architects © Patrick Bingham-Hall  Post-earthquake reconstruction demonstration project of Guangming Village; Zhaotong City, China / One University One Village Programme, The Chinese University of Hong Kong © Ce Wang Queen Elisabeth Hall; Antwerp, Belgium / SimpsonHaugh with Bureau Bouwtechniek  Queen Elisabeth Hall; Antwerp, Belgium / SimpsonHaugh with Bureau Bouwtechniek © Karen Fuchs ROGIC ROKI Global Innovation Centre; Hamamatsu, Shizuoka, Japan / Tetsuo Kobori Architects  ROGIC ROKI Global Innovation Centre; Hamamatsu, Shizuoka, Japan / Tetsuo Kobori Architects © Takahiro Arai Salerno Maritime Terminal; Salerno, Italy / Zaha Hadid Architects with Interplan Seconda .jpg?1513179990 "Salerno Maritime Terminal; Salerno, Italy / Zaha Hadid Architects with Interplan Seconda © Hélène Binet") Salerno Maritime Terminal; Salerno, Italy / Zaha Hadid Architects with Interplan Seconda © Hélène Binet Sancaklar Mosque; Istanbul, Turkey / EAA-Emre Arolat Architecture .jpg?1513180003 "Sancaklar Mosque; Istanbul, Turkey / EAA-Emre Arolat Architecture © Cemal Emden") Sancaklar Mosque; Istanbul, Turkey / EAA-Emre Arolat Architecture © Cemal Emden Sayama Forest Chapel; Tokorozawa, Saitama, Japan / Hiroshi Nakamura & NAP  Sayama Forest Chapel; Tokorozawa, Saitama, Japan / Hiroshi Nakamura & NAP © Koji Fujii Social Housing in Bairro Padre Cruz; Lisbon, Portugal / Orange - Arquitectura e Gestão de Projecto with Bruno Silvestre Architecture and D Sul  Social Housing in Bairro Padre Cruz; Lisbon, Portugal / Orange - Arquitectura e Gestão de Projecto with Bruno Silvestre Architecture and D Sul © Eduardo Nascimento  Stavros Niarchos Foundation Cultural Center; Athens, Greece / Renzo Piano Building Worskhop with BETAPLAN © George Dimitrakopoulous Structures of Landscape, Fishtail, Montana, United States of America, by Ensamble Studio .jpg?1513179943 "Structures of Landscape, Fishtail, Montana, United States of America, by Ensamble Studio © Iwan Baan") Structures of Landscape, Fishtail, Montana, United States of America, by Ensamble Studio © Iwan Baan Studio Dwelling at Rajagiriya; Colombo, Sri Lanka / Palinda Kannangara Architects  Studio Dwelling at Rajagiriya; Colombo, Sri Lanka / Palinda Kannangara Architects © Sebastian Posingis Suzhou Chapel; Suzhou, China ; Neri&Hu Design and Research Office  Suzhou Chapel; Suzhou, China ; Neri&Hu Design and Research Office © Pedro Pegenaute Tatsumi Apartment House; Tokyo, Japan / Hiroyuki Ito Architects  Tatsumi Apartment House; Tokyo, Japan / Hiroyuki Ito Architects © Shinkenchiku-sha  The Ancient Church of Vilanova de la Barca; Vilanova de la Barca, Spain / AleaOlea architecture & landscape © Adrià Goula The Palestinian Museum; Birzeit, Palestine / Heneghan Peng Architects with Arabtech Jardaneh  The Palestinian Museum; Birzeit, Palestine / Heneghan Peng Architects with Arabtech Jardaneh © Iwan Baan Three Metro Stations in Barcelona L9; Barcelona, Spain / Garcés - de Seta - Bonet Arquitectes with TEC 4 Ingenieros Consultores  Three Metro Stations in Barcelona L9; Barcelona, Spain / Garcés - de Seta - Bonet Arquitectes with TEC 4 Ingenieros Consultores © Adrià Goula Tirpitz; Blåvand, Denmark / BIG  Tirpitz; Blåvand, Denmark / BIG © Laurian Ghinitoiu Toho Gakuen School of Music; Tokyo, Japan / Nikken Sekkei  Toho Gakuen School of Music; Tokyo, Japan / Nikken Sekkei © Harunori Noda Tolsa 61; Mexico City, Mexico / MOCAA Arquitectos  Tolsa 61; Mexico City, Mexico / MOCAA Arquitectos © Jaime Navarro University of Amsterdam; Amsterdam, The Netherlands / Allford Hall Monaghan Morris  University of Amsterdam; Amsterdam, The Netherlands / Allford Hall Monaghan Morris © Tim Soar Vertical forest; Milan, Italy / Boeri Studio with Studio Emanuela Borio and Laura Gatti .jpg?1513179788 "Vertical forest; Milan, Italy / Boeri Studio with Studio Emanuela Borio and Laura Gatti © Paolo Rosselli") Vertical forest; Milan, Italy / Boeri Studio with Studio Emanuela Borio and Laura Gatti © Paolo Rosselli Wadden Sea Centre; Ribe, Denmark / Dorte Mandrup A/S  Wadden Sea Centre; Ribe, Denmark / Dorte Mandrup A/S © Adam Mørk Welcome Centre and office building; Shanghai, China / Sergison Bates Architects  Welcome Centre and office building; Shanghai, China / Sergison Bates Architects © Kristien Daem Xiao Jing Wan University; Shenzhen, China / Foster + Partners with GDI  Xiao Jing Wan University; Shenzhen, China / Foster + Partners with GDI © Nigel Young YKK80 Building; Tokyo, Japan / Nikken Sekkei  YKK80 Building; Tokyo, Japan / Nikken Sekkei © Forward Stroke .jpg?1513179723 "Zeitz MOCAA; Cape Town, South Africa / Heatherwick Studio with VDMAA, Rick Brown Associates and Jacobs Parker © Iwan Baan") Zeitz MOCAA; Cape Town, South Africa / Heatherwick Studio with VDMAA, Rick Brown Associates and Jacobs Parker © Iwan Baan  This posting includes an audio/video/photo media file: Download Now |
| Posted: 13 Dec 2017 03:00 AM PST  © Scott Frances
 © Scott Frances Text description provided by the architects. Located at the juncture where a forest opens onto the bay, the Shore House was designed to capture both the intimacy of the wooded site and the expansiveness of the open water. Upon approach, a cedar facade and planted roof obscure the house while the minimal fenestration curates glimpses of the ocean beyond. A cut in the earth offers entry to the house followed by a sequence of interior and exterior spaces that slowly open to sweeping views of the bay.  © Scott Frances Designed for both large family events and as a private retreat, the water side of the house is wrapped in large glass panels that open to a covered outdoor courtyard. Here a large masonry hearth supports the upper volume and provides a focal point for a sunken seating area. Access to the floating bedrooms and sitting room is by a hidden stair.  © Scott Frances  Plans  © Scott Frances The language of detailing is both expansive and intimate: exploring the junction between abstract modernism and handcrafted materiality. The monumental scale of the cantilevered mass and panoramic glazing are juxtaposed with the intimacy of the texture and warmth of charred cedar, brushed oak, blackened steel, troweled plaster, and hand-glazed tiles.  © Scott Frances By taking on the roles of both the builder and interior designer, the architects were able to engage the design process from inception through fabrication and construction and were better positioned to integrate the nuances of the site and program into the final design.  This posting includes an audio/video/photo media file: Download Now |
| Soon, Architects Will Be Able to Create 3D Models From Inside Their VR Headset Posted: 13 Dec 2017 01:30 AM PST  Courtesy of Redshift This article was originally published by Autodesk's Redshift publication as "Next-Gen Virtual Reality Will Let You Create From Scratch—Right Inside VR." The architecture and manufacturing industries are about to undergo a radical shift in how they make things. In the near future, designers and engineers will be able to create products, buildings, and cities in real time, in virtual reality (VR). In predicting VR's dramatic evolution, an analogy to early cinematic history is apt: As one legend has it, when the motion-picture camera first came out, actors were filmed on a set, in front of fake trees. Then someone said, "Why don't you just put the camera in the forest?" Simple, but game-changing. VR technology is already available, and it's only a matter of time before it is used to its full potential.
What's Here Now: VisualizationAt a dedicated VR station inside the Los Angeles office of John A. Martin & Associates, where I am a Building Information Modeling (BIM) director, colleagues strap on eye-tracking headsets and navigate using handheld controllers through 3D models created by BIM software. Visualizing a design in this context lets users detect structural irregularities they might otherwise miss.  Courtesy of Redshift For example, in VR, you can see if a beam is not properly connected to a girder. Sure, this is possible without a VR headset, but being completely immersed in a 3D environment makes you feel as if you are standing in that actual physical spot. It's easier to detect building components that are not in the correct location. VR has made great strides as a visualization tool—its dominant use in the architecture, engineering, and construction industries—both within firms and for use with clients. Using handheld laser point-and-click controllers, engineers and designers can move through 3D building renderings as if they're in a first-person video game simulation. They can float up staircases, teleport down hallways, or peer out of upper-story windows. It is truly amazing. Design visualizations can also help firms sell ideas to stakeholders. By deploying 3D building models as playable "games" with VR-capable software such as Revit Live, 3ds Max, and Enscape, designers can invite clients and owners into immersive showcases of their prospective projects. What's Coming: CreationStill, these examples only scratch the surface of VR's potential. The next big opportunity for designers and engineers will move beyond visualization to actually creating structures and products from scratch in VR. Imagine VR for Revit: What if you could put on an eye-tracking headset and, with the movement of your hands and wrists, grab a footing, scale a model, lay it out, push it, spin it, and change its shape?  Courtesy of Redshift That scenario may not be far off. Programs like Google Tilt Brush, which lets you paint in a 3D VR environment, could signal what's coming for creating design projects in VR. Simply by rotating your wrist in the painting tool, you can color an object in a VR environment. That kind of physically responsive design functionality is not available in the VR platforms used by most architecture and manufacturing firms, but its existence outside the industries suggests it could migrate. There are 3D mesh and surface modelers that allow designers to form smoothly curved, organic shapes—car bodies, canopies, and the like—but they are made on a 2D screen using tedious mouse movements and keyboard commands. To manipulate nodes and lines, users pull and drag cursors—a clumsy way of doing things in an age of VR. If designers could create directly in VR, rather than using external desktop software, they could peer around rear walls and teleport to tight spots, such as joints and moldings. By working at a closer, more maneuverable range to objects, designers could create more organic shapes with a higher level of granular detail. Artists and artisans learned a long time ago to use their hands to sculpt with stone and clay—and while that ability doesn't directly apply to the realities of designing things like buildings and cars, there's an opportunity to bring it back in a virtual way. What Needs to Change: InteractivityBefore VR will see widespread adoption as a creation tool in the architecture and manufacturing industries, the software must make a significant leap forward. As it stands, most game-engine technology allows users to only look around, not touch objects or edit on the fly. For example, if you are viewing your model in VR and you want to make a beam correction, you must take the headset off, set it down, find the beam in the authoring software, make the change with a mouse and keyboard, update the model in the game-engine viewer, put the headset back on, and make sure the change happened. That workflow is long and tedious.  Courtesy of Redshift The future of VR needs to move beyond taking the VR headset off and relying on mouse-and-keyboard clicks to make changes. Architecture and manufacturing design software should take full advantage of VR's handheld controllers and immersive environment, as well as provide tools within the experience to interact with and make changes to 3D models. Another stumbling block is the lack of automated interactivity inside VR. Any action a user might take in VR—move a beam, open a window, or turn on a light—must be preprogrammed by an experienced game-engine programmer to make it interactive. A better solution could be to automate this process. For example, the Revit 3D model could automatically be converted into a game-engine environment that is VR capable, with interactivity already programmed in, so anytime a user wants to move a wall, open a door, or flex any type of component within the VR environment, it's possible. Information modeling is like a living, breathing thing: A building, door, window, table, or piece of medical equipment all have flexibility in their parameters. In most game-engine based technologies used today, these elements are static—for now. VR is about evolve. Are you ready?  This posting includes an audio/video/photo media file: Download Now |
| CityLife Shopping District / Zaha Hadid Architects Posted: 13 Dec 2017 01:00 AM PST  © Hufton+Crow
 © Hufton+Crow Text description provided by the architects. Located above Tre Torri station on the M5 line of Milan's Metro network, CityLife Shopping District integrates a public park with indoor and outdoor piazzas, food hall, restaurants, cafes, shops and cinema as well as facilities for health and wellbeing. The 32,000m² shopping district will welcome seven million visitors each year when the CityLife redevelopment fully completes in 2020. CityLife is one of Europe's largest redevelopment projects and will include 1,000 new homes, offices for almost 10,000 staff, the new 42-acre park, piazzas and kindergarten.  © Hufton+Crow Defined by the three axes of the city that converge within CityLife, the shopping district's composition continues the geometries of the connecting 44-storey Generali Tower that will be occupied in 2018 by the insurer's 3,000 staff based in Milan. These formal geometries are aligned with the city's axes at street level, but twist incrementally as the tower rises, orientating its higher floors to face the Duomo, Milan's renowned cathedral at the centre of the city.  © Hufton+Crow Bamboo flooring, ceiling and columns welcome visitors to the shopping district's interior. Selected for its warmth and tactility, engineered bamboo is extremely durable and can be procured in a large quantity from sustainable sources.  © Hufton+Crow The solidity of the bamboo floor and columns meets the louvered bamboo ceiling at the capitals of each column, expressing a unity between the solid and porous surfaces. Two sculptural bamboo café counters follow this fluid design language.  © Hufton+Crow Assembled with resins under high pressure, engineered bamboo blocks were carved by 5-axis CNC milling and hand-finished to create the shopping district's interior columns, capitals and counters.  © Hufton+Crow The 90-acre CityLife redevelopment opens Milan's old trade fair grounds to year-round civic use and integrates the new public park with Milan's most extensive pedestrian zone, creating the largest new public space in the city in more than 120 years.  Sections Designed and constructed to reduce energy consumption and emissions, the projects within CityLife have received LEED Gold certification from the US Green Building Council (USGBC).  © Hufton+Crow  This posting includes an audio/video/photo media file: Download Now |
| Kate Moss Debuts for Saint Laurent on Steps of Modern Italian Classic Posted: 13 Dec 2017 12:00 AM PST Villa Malaparte, Adalberto Libera's modern Italian classic, is featured as the backdrop in Saint Lauren's spring 2018 campaign starring modern English classic, Kate Moss. The video for the campaign, directed by Nathalie Canguilhem, positions Moss on the dramatic and monumental steps of the villa, an architectural promenade that seems to lead directly to the sky. The rationalist project was built in 1938 for Italian writer Curzio Malaparte in Punta Massullo on the Island of Capri. Monumental and iconic, the building becomes an extension of its clifftop location as if it has been playfully carved out of the rock. While bright red in reality, the black and white footage puts the focus on the formal qualities of the project, heightening the drama of its curved solarium and level changes. Malaparte once said of the villa:
Which seems all the more appropriate in the context of Kate Moss rolling about on its steps in extremely expensive high-end clothing. News via: Saint Laurent.  This posting includes an audio/video/photo media file: Download Now |
| 798 Panoramic Mural by Drawing Architecture Studio Posted: 12 Dec 2017 10:00 PM PST  Courtesy of Drawing Architecture Studio Established by Hyundai Group, Hyundai Motorstudio Beijing was opened in the 798 Art Zone in Beijing on November 1, 2017. The large-scale panoramic mural 798 commissioned by Hyundai and created by Drawing Architecture Studio was officially released at the same time. Around 14.5 meters in width and 12.7 meters in height, the mural takes the 798 Art Zone as the representative to depict the status of today's city in the context of information overload. The drawing is a narrative map: most architectural renderings in the panorama are based on actual prototypes at 798. The assemblages are shattered, fragmented and free-floating. Enormous power comes from the inherent vitality and energy of the city. Its shell is cracked and broken to reveal the exciting maze of life inside. 798 is an imaginary representation of the real world, a reconstruction of countless fragments of physical space and time, that constantly collide, align and rearrange.  Courtesy of Drawing Architecture Studio The Internet Era of the Industrial Art Zone  Courtesy of Drawing Architecture Studio A Retrospective Imagination on Cities  Courtesy of Drawing Architecture Studio  Courtesy of Drawing Architecture Studio The Continuation of Axonometric Tradition in Architectural Drawing  Courtesy of Drawing Architecture Studio A Rethinking on the Relation Between Drawing and Architecture  Courtesy of Drawing Architecture Studio Thus, the relation between the mural and building unfolds in 3 levels. Firstly, the mural is an urban public artwork on an architectural scale; secondly, it constructs the main elevation of the building as a construction material – color brick. A film produced by 3M especially for rough surface was used for the printing of 798. As the finished mural perfectly fits into the texture of the brick wall and the original touch of the architectural surface remains, the mural could be seen as part of the construction material. And finally, the mural becomes the key component of the architecture as a "billboard". From Sistine Chapel to Markthal Rotterdam, the large-format murals have always become the most eye-catching element in the space either as a communication for messages or the surface decoration to the architecture. From Venturi's "billboard" proposal to the Billboard Architecture categorized by Terunobu Fujimori, the flattened and content-rich façade is deliberately highlighted and the three-dimensional spatial experience is simplified into a more straightforward and flattened display. At the present when being Instagrammable has become a criterion for evaluating a space with the popularity of social network, such an intentional flattening approach makes more sense. More than ever, people are anxious for direct, overwhelming visual experiences that are worth to share. Undoubtedly, drawing has its natural advantages in creating unique visual experiences with its flexibility in content, scale, and representational style. Therefore, it becomes more logical that the drawing and architecture would accomplish each other, also as an active response to the internet from the current architectural culture. The case of the mural 798 and Hyundai Motorstudio is just such an example.  Courtesy of Drawing Architecture Studio
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| Posted: 12 Dec 2017 09:00 PM PST  © Martin Gardner
 © Martin Gardner Text description provided by the architects. We were given the kind of brief most young aspiring practices dream of: to design a contemporary house in a wonderful location overlooking the sea. The twist here was that the house had to be highly accessible whilst avoiding the 'institutionalised' feel that many homes for people with impaired mobility occasionally suffer from.  © Martin Gardner The site presented us with a few challenges. First of all, it was set between 2 traditional, low lying thatched cottages identified as being of architectural significance. Secondly, the views out to sea were only achievable at first floor level, and thirdly, the front, less-private side to the plot faced south meaning there would be a conflict between the road and the proposed garden that would front onto it.  Floor Plans We developed a concept of 4 interlocking forms that would give the accommodation required, whilst respecting the scale of the cottages either side and the views they provided to the village. We proposed a long linear timber clad form at first floor, set above a light weight glazed section below, and a white rendered wing to the side with a projecting garage at the end to create a welcoming entrance courtyard. The composition is 'anchored' to the site by a double height entrance hall that is clad on the outside in dark grey zinc.  © Martin Gardner The walls were heavily insulated and sealed to create a highly efficient super structure. An air source heat pump provides the heating and hot water and a mechanical ventilation and heat recovery system throughout the house recovers the heat from the kitchen and bathrooms to provide warm fresh air in the winter months.  Section C-C The extensive areas of glazing give a constant reminder of the dramatic and ever changing weather in this exposed location: the dappled sunlight breaks through the trees into the kitchen in the morning; the rain showers down on the large rooflights over the dining area during the day; and the sun sets over the sea in the evening, filling the living area with an orange glow captured by the large framed window to the west.  © Martin Gardner  This posting includes an audio/video/photo media file: Download Now |
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