Arch Daily

FIO House / Studio MK27 - Marcio Kogan + Lara Reis
House S / ATKA arquitectos
Gouda Cheese Warehouse Loft Apartments / Mei architects and planners
BT-House / ONG&ONG Pte Ltd
Akasaka Brick Residence / KINO architects
Sindhorn Residence / T.R.O.P
Open Call to Architecture Students For Pavilion of Turkey at the 16th International Architecture Exhibition, La Biennale Di Venezia
Calowiz&CO / RoarcRenew
Eurhythms House / Roth Architecture
Construction Breaks Ground on Calatrava's UAE Pavilion at Expo 2020 Dubai
Van Spaendonck Enterprise House / architectenbureau cepezed
Francis Kéré’s 2017 Serpentine Pavilion To be Moved to Permanent Home in Malaysia
FY House / PJV Arquitetura
Reiulf Ramstad Arkitekter Unveils Copper Clad Residential Tower in Ski, Norway
Modification of the Chateau Hill in Litomyšl / ŠÉPKA ARCHITEKTI
What Does Your Choice of Pen Say About You?
Marindia House / MASA Arquitectos
Women in Architecture Photography: 12 Names to Know
Spotlight: David Chipperfield

FIO House / Studio MK27 - Marcio Kogan + Lara Reis

Posted: 18 Dec 2017 09:00 PM PST

Architects: Lair Reis, Studio MK27 - Marcio Kogan
Location: São Paulo, Brazil
Author: Marcio Kogan
Co Author: Lair Reis
Area: 1100.0 m2
Project Year: 2015
Photographs: Fernando Guerra | FG+SG

Interiors Design: Diana Radomysler
Team: Carlos Costa, Eline Ostyn, Fernanda Neiva, Laura Guedes, Mariana Ruzante, Mariana Simas, Oswaldo Pessano
Landscape Designer: Renata Tili
Structure Engineer: Leão e Associados - João Rubens Leão
Construction Manager: D Cortez Engenharia - Gustavo Cortez
Contractor: Fairbanks & Pilnik

Text description provided by the architects. The architectural promenade in FIO House starts in the garden on the ground floor and develops through a sculptural ramp which arrives at a deck with its colourful armchairs and a ground fireplace. Pitangueiras break up the ground. Continuing along the external living space, next to it you can find the totally glassed-in living room, in a very protected and cosy environment with its ceiling in light wood. The same material builds the materiality of the facade. The lightness of the glass and the steel structure on the first floor are supported by the opaque foundation of the ground floor.

From the living room window one can see, from the top, the garden and the ramp; the architectural promenade. The windows of this room are at the same level as the treetops. The bedrooms are on the ground floor – in direct communication with the garden, with its organically-shaped swimming pool. The ascent ends in a garden at the height of the branches of the trees. This area has the ground fireplace, which is used for any outdoor meetings on colder days and also works as the extension of the living room.

The living room has complete visual permeability with the outside through sliding glass doors of 3.70 x 2.80m. The doors can be opened according to the climactic needs and a hand-rail – also in glass – gives security to the residents without creating any obstacle or interference in the internal/external relation. On this floor, the kitchen, a wash-room and the vertical circulation complete the program. On the floor of the bedrooms, there are wooden brises-Soleil that filter the external light, creating a sensation of climactic comfort even on the hotter days.

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House S / ATKA arquitectos

Posted: 18 Dec 2017 07:00 PM PST

Architects: ATKA arquitectos
Location: Porto, Portugal
Authors: Patrícia Moreno, Diogo Paradinha
Area: 187.0 m2
Project Year: 2017

Text description provided by the architects. Four vertical planes open to the sky. Structural parts, trusses, boards, partitions and staircases of wood had been subtracted from its core, the surrounding shell stayed though contaminated by excessive deformation. Even if it may seem odd, the way light was passing through the "no cover" was absolutely spectacular. The sun was entering with all its strength burning the remaining woods, and filling it with shades uncommon in the houses of Porto that we had seen. These were the fragments that had been visualized in the first impact with that place, and then the project started around the idea of this house that looks in itself.

A staircase trims in curve a wooden slat plane that interposes in space, but before that, what precedes it is a transversal gap, a void of 8 meters of height and the total width of the house, that is characterized for having white and reflecting surfaces where solar light moves crossing its different levels. While the eye is directed, vertically, for this exact gap, another one is perceived in the space: a horizontal aperture provoked by the half-rise of a platform in wood, valuing the concrete ground level, in times a dark floor, and now enabling visual communication from the entrance to the exterior.

In this exterior, a monolithic block of concrete is presented, drawn to the similarity of a granite mass, with the marked imprints of the texture of the pine boards, and standing out two black triangles of its composition. The interior space is designed with simplicity and contrasts of grey and black colors, between the planes of pine boards and laminated joists that make the structure of the floors.

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Gouda Cheese Warehouse Loft Apartments / Mei architects and planners

Posted: 18 Dec 2017 06:00 PM PST

Architects: Mei architects and planners
Location: Westerkade 2, 2802 SL Gouda, The Netherlands
Area: 5000.0 m2
Project Year: 2017
Photographs: Ossip van Duivenbode, Jeroen Musch

Team Mei: Robert Winkel, Robert Platje, Martin van der Werf , Roy Wijte, Anja Lübke, Riemer Postma, Kasia Ephraim, Ed de Rooij, Marloes Koster
Client: White House Development bv
Construction: Vergeer Bouw

Text description provided by the architects. Cheese Warehouse 'De Producent' in Gouda, the international famous Dutch Cheese Capital, experienced a spectacular transformation to residential lofts. Mei architects and planners together with White House Development initiated this successful development. In the heart of the building a spacious atrium is created, enclosed by 52 unique and sophisticated loft homes. Because of the innovative re-use of elements from the old cheese warehouse, like the original cheese boards, you can still experience the 100-year-old history of making cheese.

Dark alley transformed into light atrium

The original cheese warehouse of 'De Producent' is a national monument. Therefore the main changes of the transformation to loft homes are only visible once you enter the building. The removal of pieces of the floor and facades on both sides of the original ventilation alley, and the addition of a glass roof, creates a royal atrium that brings light into the building. Parts of the original alley facade have been remained up and running as hoistway. The residents are able to reach their apartment on one of the four floors through two glass elevators which go up and down along the historical facades, while experiencing the building to the fullest.

Meaningful Re-use

For this transformation, Mei saved as much elements as possible from the former cheese warehouse to give them a second life in the new construction. The shelfs, where cheese ripened for over 100 years, are re-used as finishing touch on the facades in the atrium. After extensive research it turned out possible to treat the cheese boards with monomers to meet the fire resistant requirements. The signs of use on the boards remained visible after this treatment. In some of the cheese shelfs a saying is carved as an extra meaning. These sentences come from a typical Dutch board game that was found in the archive of De Producent. The attentive resident or visitor will be surprised by these references to the history of cheese making. Also, the original trays, which hung onto the shelfs to manage the maturation process, are being re-used; as house numbers.

Circularity in this project is not only for sustainability and cost-effectivity reasons, but it gives sense to the building by keeping the 100-year-old history alive.

Existing wooden floors as formwork
To carry the weight of a million kilos of cheese, the warehouse had two separate construction systems. One for the building and one for the cheese. The original construction is re-used and maintained unfinished and visible in the loft apartments; steel columns, wooden and concrete ceilings and wooden attic beams. The existing floors are used as lost formwork for the new concrete floors in such a way that the original wooden ceilings remained visible and give a historic touch to the apartments.

In conversation with the residents
Due to the strategic placement of loggias in the facade – maintaining the monumental rhythm of characteristic small windows – a diverse range of floorplans was possible. All loft apartments are different, varying from 60m2 to 180m2, and tailor-made to individual wishes. Upon purchase, every buyer received a personal consult with the architect. This was easy to organize, as Mei was involved in both the development and the sale of the apartments. Worth mentioning is the fact that all loft apartments – before an unknown type of living in Gouda – were sold within three months.

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BT-House / ONG&ONG Pte Ltd

Posted: 18 Dec 2017 04:00 PM PST

Architects: ONG&ONG Pte Ltd
Location: Singapore, Singapore
Directors: Maria Arango, Diego Molina
Project Year: 2017

Team Members: Julius Caramat Daguio, Lim Yan Qing
Architecture Associate: Lee Cheow Yeh

Text description provided by the architects. An elegant bespoke home, BT-House perpetuates a renowned design philosophy that harmonizes aesthetics, aspiration & imagination.

Brief
Sequestered in a quiet residential alcove along Bukit Timah Road, BT-House was tailor-made for the client's family of six. A homemade to suit active lifestyles and predicated on comfort; to fulfil the clients' exact needs, and more importantly, their hopes and aspirations.

Response and Concept
Tucked into a corner nook, the odd-shaped site contained a mature Ficus tree with sprawling branches stretching shade and shadow across a significant portion of the land. The design perceptively orientated the home to accommodate and celebrate the tree - transforming it into a distinctive feature within. The house encompasses an assemblage of shifted rectilinear volumes stacked atop one another. The home's volumes were subsequently intersected by planar elements at specific sections, resulting in a final design that exudes clarity and simplicity. The main composition was conceived in three layers, with the topmost layer consists of a striking metal mesh that encases the attic and mechanical services. The mid-layer features an intricate timber lattice screen that cocoons the upper floor family rooms. And finally, a highly porous ground layer comprised of the kitchen and living areas set amidst lush greenery.

A Dramatic Introduction
The entrance hall mimics a bridge as slithers of light cascade through during the day. This naturally ventilated corridor even conceals a guest bedroom suite and powder room as it leads to the main living space. A feature wall figures prominently within the space, delineating the service areas from the living room, giving the ground volume much versatility. Concrete overhangs are utilized to provide shade, complemented by expansive travertine stone flooring.

The Heart of the Home
The ground level also boasts a system of fully retractable glass windows, which when completely opened are fully concealed - creating a seamless convergence of spaces. Joining the ground floor to the upper levels is a striking sculptured staircase that is undoubtedly one of the centrepieces of the home. The lithe, white spiral staircase provides eye-pleasing contrast to the fair-faced concrete volume holding the master bedroom and a junior suite was placed. A swimming pool traces the back edge of the main structure, as the white travertine floor bleeds into the delicate blue from the pool - amplified by a backdrop of lush green landscaping lying close behind.

Perfectly Suited
Dramatically ascending to reveal the bedrooms on the second floor, the focus is drawn from the stairwell to the zircon lattice screens that veil the upstairs interior spaces. Additional amenities and refinements come in the form of a private gym in the attic, and a professional-grade wine cellar adjacent to the kitchen, as the architects sought to cater to the personal pursuits of the client and his family as much as possible.

Materials Used
BT-House features a carefully curated elemental palette to complement the geometric simplicity of the Set against the predominately warm tones of the travertine and zirconwood wall; a system of fully retractable glass doors imbues the voluminous space a high degree of openness. The expansive travertine floor that flows from the living areas onto the outdoor patio further blurs the threshold between the inside and outside. Weathered to a silvery grey untreated Zircon lattice screens, veil the upstairs interior.

Able to slide and fold, these screens allow apertures within each room to be calibrated, making the ambience and privacy adjustable. Dark grey expanded metal brise soleils shrouds the outer surface of the attic, providing a unified surface against the random fenestration beneath while creating a lovely moiré effect. Air and natural light ventilate the upper-floor spaces through a carefully placed air well, as teak decking lines the second-storey providing a touch of warmth to the private spaces.

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Akasaka Brick Residence / KINO architects

Posted: 18 Dec 2017 02:00 PM PST

Architects: KINO architects
Location: Tokyo, Japan
Architect In Charge: Masahiro Kinoshita
Project Year: 2014
Photographs: Daici Ano

Text description provided by the architects. This apartment building is located in heart of Tokyo, where many office buildings and apartment buildings are jumbled up close together.

It would need special arrangements to keep moderate distance from neighborhood. In Tokyo, most apartments have continuous and opened balconies horizontally. It is necessary to provide an adequate aperture for sunlight and ventilation.

In high-density living area, the relationship between the inside and outside are switched by a curtain, like "on / off" . Then curtains express presence or absence.

However, most curtains are kept closed in the city. The contradiction of providing an aperture in the city, was solved by using a brick screen at balconies.

Moreover, porous screen is fine example of comfortable living in hot and humid environment.

Those bricks intercept line of sight, but supply sunlight, ventilation and flue gas. So wide width are needed. Therefore, the Seto factory that is in famous production area for bricks made Those bricks to order.

In most apartment, dwelling units are same on each floor because of the economic principle. In this apartment the position of screen are switched alternately on the odd floors and even floors. The dwelling unit changes diversify and makes beautiful facade with a little arrangement.

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Sindhorn Residence / T.R.O.P

Posted: 18 Dec 2017 12:00 PM PST

Architects: T.R.O.P
Location: Bangkok, Thailand
Architect In Charge: Pok Kobkongsanti
Area: 6800.0 m2
Project Year: 2017
Photographs: Wison Tungthunya

Text description provided by the architects. Recently, Bangkok has one of the most traffic jams in the World. As a result, more and more people have moved in to live in the city instead. Because of land prices, traditional house and garden are unaffordable, replaced by Vertical living which has a lot more density in compact sites. For Sindhorn Residence, the design team had to work with such a limited space and tried their best to create a microclimate, in order to provide a comfortable living space for the residents.

Sindhorn Residence is a condominium right in the middle of Bangkok's prime area. The property was located just across Netherlands Embassy which occupied a lot of green areas. However the site itself was not very big for 2 buildings, Tower A and B. With fire lane regulation, the design team had to work with a small leftover space for greenery.

Both buildings‚ lobbies was first raised up 2m from main access to avoid the city 'a recent flood problems, with Main drop off located in between both Towers. The covered passage connected the Main Drop off with garden space in front of Tower B. Stepped planters was designed to enclosed the experience of the residents walking through this tunnel-like space. A series of tall trees and shrubs were planted to provide more shades, adding protecting layers against Bangkok's infamous temperature.

In order to visually maximize garden space, the design team camouflaged part of the fire lane in front of Tower B's Lobby. Hardscape surface was slightly dropped and filled with shallow water. Appeared as Reflecting Pond, it visually doubled the view of the green space right in front of the lobby.

The actual green area was kept at original level, appearing like sunken garden space from the Lobby. It was built slightly above street's level, to avoid filling and retaining wall. Here an orchard of tall trees were proposed to provide green layers to filter sunlight heat, creating microclimate effect for the residents. Water from Reflecing Pond overflowed to the lower gutter, creating white noises to animate the garden space.

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Open Call to Architecture Students For Pavilion of Turkey at the 16th International Architecture Exhibition, La Biennale Di Venezia

Posted: 18 Dec 2017 11:30 AM PST

Courtesy of Istanbul Foundation for Culture and Arts (İKSV)

The 16th International Architecture Exhibition, La Biennale di Venezia will take place from May 26th to November 25th 2018, in Venice, Italy.

As the coordinator of the Pavilion of Turkey, Istanbul Foundation for Culture and Arts (İKSV) will host a series of events and student workshops throughout the Biennial.

This open call by the curatorial team invites students of architecture from all over the world to apply for these workshops in the Pavilion of Turkey.

Theme:
Vardiya / The Shift, is a research program of a series of events and workshops aiming for the active contribution of architecture students to build up the exhibition content throughout the Biennale. On weekly shifts, students will be sent to Venice with the support of İKSV. This program provides for the necessary environment and facilities for its participants while encouraging an active approach for being producers of the exhibition content.

Who can apply?
The program is open for international applications from undergraduate and graduate students of architecture. All students are required to submit proof of enrolment in an accredited university or institution as of February 1st, 2018.

How can I apply?
Your application must include a portfolio and a short video on the theme of this open call.

When is the Deadline?
The deadline to apply is Thursday February 1st, 2018 by 11:59 pm (GMT+3). Late applications will not be considered.

What should my portfolio contain?
Your portfolio should include your resume, sketches, designs, drawings from your coursework as well as your individual or group productions for design competitions, workshops etc. You may include your extracurricular projects, articles and activities. Any work which has multiple authors must be stated with full credits.

What are the video requirements?
You are free to use any technique in your video work, however it should be 30 to 60 seconds long.

What should the video be about?
The video should address one or more answers to the questions below:

Why does Biennial exist?
What does the Biennial do?
For whom does the Biennial exist?

I prepared the portfolio and the video, now what?
You must upload your video work to a video sharing website such as youtube, vimeo etc. Your upload link must be accessible through a password. Your portfolio must be uploaded to a portfolio sharing website such as issuu, behance etc.

Who will evaluate and select the candidates?
The evaluation and selection process will be conducted by the curatorial team. The evaluation team is formed by five members and a substitute member.

Kerem Piker (Curator),
Cansu Cürgen (Associate Curator)
Yelta Köm (Associate Curator)
Nizam Onur Sönmez (Associate Curator)
Yağız Söylev (Associate Curator)
Substitute Member Erdem Tüzün (Associate Curator)

QUESTIONS?
You can send your questions to vardiya@iksv.org until January 2nd, 2018. Answers will be announced on http://vardiya.iksv.org within a week.

Terms of Travel

How will I travel? How will my travel expenses be compensated?
Applicants from Turkey will be provided with a return flight ticket to Venice from Istanbul. Applicants outside of Turkey will be provided with a return train or flight ticket to Venice departing from the city addressed in their application.
All tickets are economy class and they cannot be issued to any change or return. Departure or arrival cities/dates are subject to change at any time.

Where will I stay? How will my accommodation expenses be compensated?
Participants will be accommodated at dormitories. Accommodation expenses will be compensated by the organizations affiliated with the project.

How much money would I spend in Venice?
It is up to you. Students are planned to be supported with a per diem.

Do I need a Visa?
Italy is a party to the Schengen agreement. Turkish passport holders are required to have a valid Schengen visa for their stay in Italy. All applicants should visit the website of the Embassy of the Republic of Italy in their country for the most current visa information.

Could I ask for help in my visa application?
You will be provided with a goodwill letter stating that you are a selected participant of the Pavilion of Turkey and return tickets to Venice and accommodation expenses will be provided.

You may find the application form here.

For details: http://vardiya.iksv.org
To follow Pavilion of Turkey at the 16th International Architecture Exhibition, la Biennale di Venezia on social media: #applyforvardiya #freespace. Facebook/ Twitter/ Instagram.

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Calowiz&CO / RoarcRenew

Posted: 18 Dec 2017 11:00 AM PST

Architects: RoarcRenew
Location: No.255, Middle Jiangxi Rd., Huang Pu District, Shanghai, China
Lead Architects: Zhenqi Bai
Design Team: Leqian Xue, Mengxuan Sheng, Huiyang Peng, Shuang Wang
Area: 4200.0 m2
Project Year: 2017
Photographs: Oscar Lok

Client: MixPace Coworking

Text description provided by the architects. RoarcRenew renovated the space of Carlowitz & Co. (third to fifth floor) in Middle Jiangxi Road into a unique co-working space. The original building, constructed with large natural stones and red ganged bricks in 1898, was the biggest architecture among all public concession buildings in Shanghai. The continuous refurbishment during recent years reconstructed the architecture from the original wooden structure to a steel structure. In this project, RoarcRenew kept the original structure, concrete walls and the architectural texture repaired.

RoarcRenew's design held the concept to infuse a special historical and cultural breath into the new spirit of space field, echoing the picture of a neo-gothic Holy Trinity Church standing opposite to this eclectic architecture, Carlowitz & Co. RoarcRenew re-designed the attic on top floor (fifth floor) with the idea of arch and axisymmetry, dividing the space into three parts: main lobby in the middle and corridors aside. The desired depth of the shape and geometric aesthetics of the space formed a dialogue between the old and the new. The fishbone-like arches marched as an array, connecting the inside and outdoors, the past and the future. It is a solute to the Holy Trinity Church.

For the interior decoration, curved elements were largely applied to inherit the eclectic style, e.g. the proportion of three-zone construction and arc windows. The materials indicated three layers: the first is the application of marble and terrazzo; the second is the soft wood and brick walls, and the third of the extremely clean glasses, which fully presented the original building components and materials.

RoarcRenew started with respect to history, seeking the possibility to maintain the unique ritual and field spirit of each space from the view of its own, and so to liberate history in new context.

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Eurhythms House / Roth Architecture

Posted: 18 Dec 2017 09:00 AM PST

Architects: Roth Architecture
Location: Coogee, Australia
Area: 401.0 m2
Project Year: 2016
Photographs: Murray Fredericks

Builder: Harmony Build

Text description provided by the architects. Awash with natural light, Eurhythms at Coogee is the quintessential sophisticated beach house. Wide eaves, skylights and carefully placed windows direct the abundant sunlight in a slow symphony throughout the home. The play of shadows it creates is an artwork sufficient in itself to adorn the serene surfaces. A simple interior of clean lines is complemented by timber framework and accents.

The warm and inviting sandstone of the heritage wall at the front of the property sets the tone for this design, which exudes subtle coastal elegance. The colour and texture palette for the entire project can be solely traced to its variations. It runs, ribbon like, through the home, dissolving and reappearing, glimpsed from almost every angle as the space is used. Reflected in outdoor spaces and the texture of internal walls, the sandstone ties the design together.

As the name suggests, natural materials quietly merge to exude their textural beauty in this meditative design. There is a seamless connection between the interior and outdoor spaces, raw concrete and warm sandstone is carried into garden retaining walls, the only embellishment, a subtle wave motif of weathered timber. The dynamic flexibility of this design makes its functionality fluid for years of use to come.

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Construction Breaks Ground on Calatrava's UAE Pavilion at Expo 2020 Dubai

Posted: 18 Dec 2017 08:00 AM PST

Construction has begun on one of the centerpiece structures at the upcoming 2020 Dubai Expo, the Santiago Calatrava-designed UAE Pavilion.

Inspired by the shape of a flying falcon, the UAE Pavilion covers more than 15,000 square meters and four floors, including a 1,717-square-meter top story hospitality lounge. A 588-square-metre mezzanine will house support functions, with the remaining two floors containing 12,000 square meters will of exhibition space showcasing displays that respond to the Expo theme of "Connecting Minds, Creating the Future."

At the groundbreaking ceremony Chairman of the Expo 2020 Dubai Higher Committee H.H. Sheikh Ahmed bin Saeed Al Maktoum championed the design as a symbol of Emirati tradition and future:

"The UAE Pavilion will undoubtedly be one of the most prominent attractions of Expo 2020, drawing in many millions to witness its futuristic design. It will be a wonderful opportunity to share our Emirati culture and achievements while showcasing our ambitious vision for the future. The Pavilion will be an architectural marvel that all seven Emirates can rightly take pride in, both now at the ground-breaking stage, during Expo, and in legacy when it will become a lasting icon of our nation."

The pavilion is being constructed by Arabtec Construction. It expected to complete by the end of 2019.

Santiago Calatrava's Winning Design for the UAE Pavilion at the Dubai World Expo
Santiago Calatrava has won the competition to design the United Arab Emirates Pavilion for the Dubai World Expo in 2020. Nine finalists submitted 11 concepts that were evaluated on three criteria: their expression of Expo's theme, "Connecting Minds, Creating the Future," whether the design was evocative of the UAE, and if a balance was struck between the country's past and future.

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Van Spaendonck Enterprise House / architectenbureau cepezed

Posted: 18 Dec 2017 07:00 AM PST

Architects: architectenbureau cepezed
Location: Reitseplein 1, 5037 AA Tilburg, The Netherlands
Project Team: Ronald Schleurholts, Paddy Sieuwerts, Jan Pesman, Albertien Kers, Paul Oehlers, Qian Ren, Frank Maas, Ruben Molendijk, Jaap Bosch
Area: 7385.0 m2
Project Year: 2017
Photographs: Lucas van der Wee

Interior Architect: Cepezedinterieur, Delft
Interior's Project Team: Det van Oers, Susan Vlemminx, Mark Bruin, Klaas Cammelbeeck, Daam van der Leij
Consultant Stability: Hooijen Konstruktiebureau, Tilburg
Consultant Mep, Construction Physics, Acoustics, Fire Safety And Sustainability: Nelissen Ingenieursbureau, Eindhoven
Landscape: Green Curve, Oisterwijk
Realization Constructional, Steel Structure, Façades: Mertens Bouwbedrijf, Weert
Realization Mep: Homij Technische Installaties, Eindhoven
Interior Separations: Qbic, Alphen aan den Rijn
Client: Van Spaendonck Groep, Tilburg

Text description provided by the architects. The original building, formerly named The Corpac House, stems from 1968 and was designed by the Rotterdam office Van den Broek & Bakema. In later years, this split-level edifice composed of two volumes at different height levels was expanded with several additions. In a variety of aspects such as climate, user experience and functionality, the complex no longer met contemporary standards though.

Cooperation
The motto for the renewed enterprise house was derived from the Roman historian Sallust (86-35 BC) and reads: Cooperation makes small things grow. Therefore, the transformation importantly focussed on enabling encounters and stimulating the sharing of visions and ideas. Also, the client the Van Spaendonck Groep wanted a building with a modern-day élan and truly sustainable in all respects. Current themes such as hospitality, representativeness, effectiveness, professionality, convenience, transparency, flexibility and an optimal support of the work processes all played an important role in this.

Effective Interventions
cepezed's approach was based on efficient, effective and well-considered interventions. For instance, right at the project start, the office made a thorough inventory of the existing situation and the possibilities it included. For several construction segments, cepezed researched the cost-effectiveness of demolition and preservation. This showed that it was more profitable to preserve a particular addition that the client had actually nominated for demolition. It turned out that with minimal adjustments, the addition could easily blend in with the setup and aesthetics of the renewed enterprise house, thus rendering demolition a waste of resources. In the new situation, the segment houses several support functions such as the kitchen, storage, archives and mail room. Hence, these do not occupy valuable floor space in the original Van den Broek en Bakema section, leaving that fully available for letting offices with an agreeable experience and functionality. This importantly adds to an optimised return on investment.

Characteristic Façade
The renewed façade is based on the horizontal, very characteristic rhythm and articulation of the existing one, which was composed of strip windows with transoms and parapets of Triassic limestone. The new outer walls have the same proportion of closed and transparent elements as the old one, but with an outer finishing of aluminium and a minimalistic detailing, it has strikingly modern looks. Whereas the original façade included a difference in depth between the closed elements and the windows above them, in the new one these two are in the same vertical surface, thus adding to a smooth appearance. While in the original façade the glass sections of the windows and transoms were on the same surface, the transoms are now positioned a bit more inward. This brings about a difference in depth that is both intriguing and softening. Of course, the new skin guarantees high-grade construction physics, while the existing one was not even insulated in any way.

Transparent Inner World
The building's inside world literally opened up. The original setup already had large spatial elements such as atria and voids, but by means of built-in cabinets, these were strictly separated from the workplaces around them. Thus, one could hardly experience the spatial wealth and abundance of these spaces. The separation also resulted in a very limited interaction between the different users of the building. cepezed broke open the existing, closed structure. The cabinets that once formed a barrier were removed and separations are now largely transparent.

The office floors were rearranged and fitted with a wide variety of workplaces, ranging from open and activity-based to concentration rooms and more traditional, cellular offices. The renewed layout came about in close consultation with the different tenants and was tailored to their needs and wishes. The new arrangement makes optimal use of the existing, clear and rational basic structure of the building. The fresh, light and airy atmosphere has long sightlines, stimulates the visual and user interaction between the different tenants and adds to a good orientation. A lot of attention was also paid to the functionality and ambience of the shared facilities such as the relax zones and the meeting rooms of different types and measurements.

All these fit the identity of the adjoining users and provide them with a distinctive own area within the whole. Whereas all zones specifically dedicated to working are neutral, sober and modest, accents in colours and materials lend an extra air to these larger, shared rooms. The designers conceived various custom furniture elements for them as well, again all in close consultation with the different tenants For use by all, the atrium adjoining the main entrance contains a working café with 98 seats. This is also where people have lunch and where events like receptions and celebrations take place. The chairs and tables here can be arranged according to any need of the moment, which adds to the multifunctionality of the area. A lot of attention was paid to agreeable acoustics.

Sustainability
The renewed enterprise house has a BREEAM Excellent certification based on the norms set for new constructions. A lot of elements of the existing building were preserved. The full main stability structure was reused and also interior elements such as the original stairwells and the stone cladding of the building's core are a prominent part of the renewed edifice. Parts of the existing furniture were aesthetically upgraded and also reused. The use of materials was minimized, while the materials nonetheless used are high-grade and in line with the latest sustainability norms. A lot of them were applied in their natural appearance. The carpet tiles filter the air. The renewed façade is highly insulated and provided with HR++ glazing. The building's detailing is minimalistic and attuned to minimal maintenance.

Just like the use of materials, the installations were minimized, while they are based on contemporary, energy-saving techniques. For instance, cooling and heating take place through climate ceilings, the temperature can be adjusted manually and individually, the building makes use of an underground thermal storage and most of the lighting is LED-lighting. The project also includes water saving measures and on the roof, the building holds some 200 m2 of solar panels. The parking is provided with a charging station for electric cars. The high degree of flexibility and the possibilities for different layouts of the renewed offices are an important part of the functional sustainability. Potential changes within the overall organization and future growth or reduction of tenant organizations are easily adjusted to. Also, for example, the installations are organized such that they fit different workplace concepts.

Changes can be brought about readily, with little effort and with relatively low costs. Around the building, a flowery biodiversity garden with a diversity of biotopes will be realized. This was designed by Green Curve, will be a valuable contribution to the urban ecology and will be pleasant for the building's users to walk, work and meet in. For a nearby school, the garden will function as a learning location. The garden design aligns with the split-level setup of the building, while the building, in turn, counts no less than 31 doors leading outside. Thus, landscape and building interconnect in a natural manner. Part of the focus on connection and cooperation is the use of the building by third parties, who can rent rooms and facilities. This way, the Van Spaendonk Enterprise House also contributes to social and economic sustainability.

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Francis Kéré’s 2017 Serpentine Pavilion To be Moved to Permanent Home in Malaysia

Posted: 18 Dec 2017 06:00 AM PST

A month after its critically-lauded run came to a close, Francis Kéré's 2017 Serpentine Gallery Pavilion has found a permanent home halfway across the globe.

As reported by the Star, the structure has been purchased by Kuala Lumpur-based Ilham Gallery, who are now searching for a permanent site of the pavilion in Malaysia.

"Thanks to the generous donations by a group of philanthropists, Ilham Gallery now has a prestigious architectural commission in its collection," said said Ilham Gallery director Rahel Joseph.

"It was a surprising yet very welcome bit of news to be the new custodian of this exciting work."

While the exact location of the pavilion is yet to be determined, Ilham Gallery currently owns two permanent installations – Divina Proportione by Chinese artist Ai Weiwei and Breast Stupa Topiary by Thai artist Pinaree Sanpitak – both of which are located at the entrance to Ilham Tower.

"It's too large for Ilham and we want to put it in a public space for all to enjoy. We are looking for a space for it in the Klang Valley," said Joseph.

The structure follows in the tradition of Serpentine Pavilions finding new homes across the globe. Last year's structure, designed by BIG, has been relocated to Vancouver. Other examples include Zaha Hadid's 2007 design, re-erected at Chatsworth House in Derbyshire, England, and Toyo Ito/Cecil Balmond's 2002 pavilion, which now serves as a beachside restaurant at the luxury hotel Le Beauvallon on the Côte d'Azur in France. Other pavilions have also been purchased by private owners.

News via the Star.

Diébédo Francis Kéré's Serpentine Pavilion Opens in Sun-Drenched London - But Will Come Alive During Rain
The 2017 Serpentine Pavilion, designed by Diébédo Francis Kéré ( Kéré Architecture), was unveiled today in London. Conceived as a micro cosmos-"a community structure within Kensington Gardens"-the pavilion has been designed to consciously fuse cultural references from Kéré's home town of Gando in Burkino Faso, with "experimental construction techniques."

Diébédo Francis Kéré's Serpentine Pavilion Photographed by Laurian Ghinitoiu
Following the opening of the 2017 Serpentine Pavilion, designed this year by Diébédo Francis Kéré ( Kéré Architecture), photographer Laurian Ghinitoiu has turned his lens to London. Designed to mimic a tree, or a canopy of trees, the wooden structure has been designed to fuse cultural references from Kéré's home town of Gando in Burkino Faso with more "experimental" construction techniques.

Critics Laud Francis Kéré's 2017 Serpentine Pavilion for Its Simplicity and Authenticity
London's annual temporary architecture pavilion spectacular has returned. Each summer the Serpentine Pavilion program selects an accomplished architect who has yet to create work in the United Kingdom, and asks them to build a temporary shelter on the gallery's lawn. The resulting structure is erected in June and dismantled in October.

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FY House / PJV Arquitetura

Posted: 18 Dec 2017 05:00 AM PST

Architects: PJV Arquitetura
Location: Jaraguá do Sul, Brazil
Architect In Charge: Pablo José Vailatti
Area: 280.0 m2
Project Year: 2015
Photographs: Larry Sestrem

Collaborators: Ana Meirinho Neves, Carolina Contin, Joana Bittencourt, Vinícius Schewe
Structure Project: Mikio Homma
Electric Project: Carolina Contin
Hydraulic Project: Carolina Contin
Work Execution: Arthur Landenthin
Client: Yuri / Flávia Odebrecht

Text description provided by the architects. The FY house is located in "Condomínio Horizontes", in the city of Jaraguá do Sul, Santa Catarina State, Brazil. The land has a big inclination both to the back side and to the north side. Its dimensions are of 26m x 40 m and the total area is of approximately 1,087 sqm. The customers are a young couple with a child. They were looking for something different and modern, with raw materials. They wanted an open house, both internally and from inside out. In addition to the common program for a residence, the house has an also a music studio and an outdoor solarium. The implantation of the residence and the arrangement of the rooms sought to solve three main issues: the adaptation of the program and the construction to the rugged terrain, the best use of the sunshine in all sectors and the relation with the surrounding landscape.

Two rectangles shape the main spaces of the program. One of them formats the social sector of the house, expanded by the direct integration with the suspended balcony. At this level are also the garage and service area. The upper rectangle contains the intimate sector of the house. The entrance hall is at an intermediate level and connects both pavements through a suspended staircase in apparent concrete with black iron safety rail and steel cables. The main facade of the residence is marked by the difference of a little more than 3 meters of height between one side and the other. Taking advantage of this difference, the box that forms the intimate sector of the house rests on one side on the ground while on the other side it is suspended only by a cylindrical pillar, which formats an open garage for two cars. The main materials used in the house were: reinforced concrete, corten steel, glass and black metal profiles. The apparent concrete was used in all the slabs, both in the rooms and in the bedrooms, in the pergola on the balcony, on the living room and lavabo walls, and in the structure, such as the pillars and beams.

A solar shading made of perforated corten steel sheets was fixed to the west facade of the residence, providing privacy to the residents and protecting these areas from the setting sun. As a sustainability strategy, it was given priority to the use of big glass panels for closing both bedrooms and social areas, besides the use of glass ceilings in the entrance hall and lavabo. Therefore, during the day it is not necessary to turn on the lights in these areas. Solar panels help to warm the water used in the residence and a buried cistern stores rainwater for use in the external areas, such as gardens and garage. The entire upper deck, suites and intimate room were directed to the east, taking advantage of the morning sun and the city view. A wood-covered terrace covers the social area of the house and serves the intimate sector as an external space, a solarium that connects the residents with nature and the city view. Formally, the project uses basic volumes articulated among themselves, in a simple and abstract language.

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Reiulf Ramstad Arkitekter Unveils Copper Clad Residential Tower in Ski, Norway

Posted: 18 Dec 2017 04:00 AM PST

Reiulf Ramstad Arkitekter has unveiled plans for a copper-clad residential tower to be built in a new green neighborhood located on the site of a former military settlement, in Ski Vest, Norway.

Responding to its historic and contemporary context — an environment made up of buildings from the 1890s and newer structures — the residential building will follow a tapering geometry of covered, wraparound terraces.

Each of the complex's 50 apartments will have access to private sections of the terrace, as well as generous ceiling heights and large open spaces. Each floor will be visually demarcated by the terraces, which will be clad in a decorative copper filigree to give the tower a unique identity in the neighborhood.

Site sketch. Image © Reiulf Ramstad Arkitekter

A timeline for the project has yet to be announced.

News via Reiulf Ramstad Arkitekter

Elevation. Image © Reiulf Ramstad Arkitekter

Site plan. Image © Reiulf Ramstad Arkitekter

Architects: Reiulf Ramstad Arkitekter
Location: Ski, Norway
Client: Solon Eiendom
Commission Type: Direct commission (2017), on-going
Program: New housing building with 50 apartments
Area: 4000.0 m2
Photographs: Reiulf Ramstad Arkitekter

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Modification of the Chateau Hill in Litomyšl / ŠÉPKA ARCHITEKTI

Posted: 18 Dec 2017 03:00 AM PST

Architects: ŠÉPKA ARCHITEKTI
Location: 570 01 Litomysl, Czech Republic
Lead Architects: Šépka Architekti (Jan Šépka / 2014 - 2016), HŠH architekti (Petr Hájek, Tomáš Hradečný, Jan Šépka / 2007 – 2014 )
Area: 20196.0 m2
Project Year: 2016
Photographs: Tomáš Malý

Other Participants: Jan Kolář, Vítězslav Kůstka, Helena Línová, Radka Šimková, Lucie Vogelová

Overall Conception
Along with its historical buildings and adjacent parks, the chateau has created an entirely unique complex for centuries. Our design works from the idea of the rooms - spaces, which are defined by the individual buildings of the chateau hill. To support this reflection and to define more clearly the individual spaces, we have added two new objects to the existing configuration of buildings. The first is the bench set between the entrance courtyard and the farm courtyard.

The second is a pavilion with a children's program, located between the carriage house and the chateau. The other solutions of the building are reconstructed and a new function is set into them, which means also a new life for the chateau hill. Our conception starts from the monument preservation and architectural singularity of the complex, which we respect as a whole and supplement it only in some places. The newly inserted elements clearly differ from the existing historical parts. All of the new features are designed as a combination of steel and a light-amber translucent laminate. It was about putting a piece of jewellery on the chateau hill, which would have its magic corresponding to this environment.

Riding School
The first data on the construction of the riding school is from the middle of the 17^th century. An extensive modification of the entire building took place in the 1970s. In order to ensure sufficient bearing capacity because of the planned placement of the archive in the area of the attic of the riding hall, a concrete ceiling and roof truss was built within the framework of these modifications. In our proposal, we have tried to respect at least those parts of historical structures that have survived to our day. From the street front, the original size of the window shadows, including the exterior boss, was restored. In the shield wall, the modern entrance to the archive was reduced. The historical building of the Riding School was reconstructed and the entrance portal was restored. The archive function was retained in the attic.

From the street front, the original size of the window chambranles including the exterior bossage was renewed. The modern entry to the archive was reduced in the gable. The historical building of the riding school was reconstructed and the entry portal was restored. The function of the archive was preserved in the attic. From the beginning, the investor intended to create a multifunctional variable space in the riding hall, where concerts for chamber music, film screenings, conferences and exhibitions can be held. Since we wanted to interfere as little as possible in a historically valuable building, we chose the concept of a newly inserted sliding object that can divide the riding hall and allow for a rapid change of function and acoustics. The new object consists of two parts - a sliding face and a solid body. Changing rooms for the performers, space for the technicians and social facilities for guests are located in the body.

The sliding face moves along rails in the floor and delimits the space for individual events as a divider. In this way, we can set the proportions of the space, and thus also its acoustic parameters. The floor is made of landings, which allow for independent stage lift, auditorium elevation or individual floor breaks during exhibitions. Stage lighting technology, acoustic resonators and other necessary elements are placed on an independent construction under the existing concrete ceiling of the hall. All of the new features are designed as a combination of steel and a light-amber translucent laminate. Since 2013, a number of events have taken place in the Riding School, such as the exhibition for the 100th anniversary of the birth of the painter Václav Boštík, but also several other exhibitions, a number of concerts and lectures, conferences, and even a fashion show.

Carriage House
The carriage house underwent a complex development. The archive and transformer station were located here. Both existing operations are removed from the ground floor and replaced thanks to the location of the carriage house by the function of a café. The second floor is used for the office of the administrator of the chateau complex. The subsequently placed partitions and the modern staircase were removed throughout the building. New masses were set into the space modified in this way in the places where the carriages had once stood. These new elements are the necessary social facilities of the café, bar and seating and are made of translucent laminate.

The big question was the exterior appearance of the carriage house, which was regrettably modified in the 1970s, when the ground floor of the building was raised by a floor and again during the actual implementation by ca 70 cm. Mainly, the presentation of the ledge deformed the material solution of the entire building. Therefore, there was a correction of the ledge by the removal of the beams, thanks to which the overall height of the carriage house was slightly reduced. With regard to the exterior facade, the decorative ledges have been removed, which are not proved in any of the original drawings or photographic documentation. The outer appearance of the carriage house should blend in with other buildings with which it had formed a complete configuration in the past, so the outer facade was covered with a light lime stucco.

Children's Pavilion
An important element is the seasonal building of the summer pavilion, which provides a natural base for children's activities. This object is a summer pavilion - a tent made up of triangular segments of a lightweight steel construction, where the panelling forms a translucent canvas. The tent is inspired by a child's dragon that has dragged into the chateau gardens and separated the farm buildings from the English Park. The summer pavilion with a children's program uses the natural connection to the café located in the carriage house and thus allows also seating. The object is divided into three parts, and mainly thanks to the choice of different activities for the differently aged children from the youngest with access only with the parents to the oldest, where more demanding activities are expected for the greater autonomy of children.

English Park
Part of the overall modifications was also the resolution of the English park, where the main emphasis is placed on the element of water. Since there were water elements in the park in the past, we tried to restore them. The water element naturally starts at the highest point where the chateau pond is preserved. The water management route starts from the greatest distance between the trees and is designed using computer technology with Voronoi geometry.

The route of the water element ends in a grotto, which we restored according to the original documentation. The route of the water element is completed in a grotto, which we have restored according to the original documentation. The English Park was disturbed by a large monumental stage from the 1950s, which we have removed and replaced by a mobile alternative, which enables the stage to be built from mobile parts. Within the resolution of the entire park, several small elements were further designed, such as an aviary for peacocks, which is based on the shape of a bushel on which peasants can sit. Another small element is benched representing a kind of crystal, inspired by the chateau sgraffito.

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What Does Your Choice of Pen Say About You?

Posted: 18 Dec 2017 01:30 AM PST

Architects are people of great taste, who enjoy the finer things in life – especially when it comes to pens. The saying goes: 'don't judge a book by its cover', but inevitably we find ourselves judging an architect by their choice of pen. It's easy to do when your colleague decides to grab the nearest biro to sketch a quick diagram, leaving you to squirm as you sit and watch it indent the paper.

Pens are powerful tools for architects, that harness our thoughts and ideas into potential three-dimensional structures. In the age of the digital world, pens have become sacred, grounding us back to the simple pleasure of drawing to begin the creative process. After years of trying and testing all the different writing instruments out there, we eventually find the one which can say a lot more about ourselves than you may think.

The Fountain Pen

Mature and intelligent individuals that are usually found informing the 'lesser' experienced co-workers of tales about when plans were made on drawing boards and how architecture has lost its magic since the introduction of CAD. Everyone in the office knows they use a fountain pen because they just don't let you forget it.

The Mechanical Pencil

It may not technically be a pen, but it is many architects' weapon of choice. As extremely busy individuals, mechanical pencil users don't have the time or patience for a sharpener so instead opt for a drawing implement that allows them to constantly create and adapt plans with the added security of being able to erase any mistakes.

The 0.05 Fineliner

A perfectionist at heart to the very last detail of the drainpipe and lintels. Their desks are usually impeccably organised, much like their sketchbooks which are brimming full of observations on the architectural world. Users of thess thin nib pens have their lives together and are quietly confident about their skill as a designer.

The 'Free-Flowing' Pen

The creative of the office that walks into meetings with about twenty different options for a particular scheme. Their brains can never switch off and they are often found up at 2am furiously scribbling into a moleskine notebook their latest idea that has come to them in the middle of the night.

The Biro

*Insert eye-roll* Biros are cheap and cheerful, but are they really going to present you as creative, forward-thinking designer of buildings? Although biro users are usually quite practical and smug as they stand back and watch the rest of us fork out a small fortune on something that costs them basically nothing.

The Collection of Pigment Liners

One pen just isn't enough for some. Their pencil case is the size of their arm, hoarding all the different nib sizes and shades of grey, which are unfortunately taken advantage of and lent out to all the co-worker if the office gets wise to it. These people are always well equipped and ready for any new idea or drawing.

The Brush Pen

Architects who use this pen are well kept individuals who take pride and care in their creations. They can knock out a beautiful concept sketch in seconds, leaving you in awe of their skill as both an architect and artist.

The Marker Pen

One of the least practical pen on the least, especially when the tip is several millimetres wide. Those who endorse this pen are more conceptual in their approach, focusing on the general form of the building compared with the smaller details.

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Marindia House / MASA Arquitectos

Posted: 18 Dec 2017 01:00 AM PST

Architects: MASA Arquitectos Uruguay
Location: Marindia, Uruguay
Authors: Martin Pronczuk, Santiago Saettone
Area: 90.0 m2
Project Year: 2016
Photographs: Federico Cairoli

Construction: Archgroup, Luis Antonio Frascolla
Structure: Piña-Ham, Ingenieros

Text description provided by the architects. Montevideo's east urbanization has been spreading from Ciudad de la Costa up to the Canelones' seashore, converting summer resorts into residential areas.

Such places have been gradually changing its landscape, into a crossover between the city and its coast, the urban and suburban. To consider a house in this environment implies working in this duality between permanent and temporary inhabiting. This duality intensifies when considering that the soil –the foundations- is located in one of the least residential areas of the summer resort. A wild piece of land on a recently urbanized area.

02. NATURAL | ARTIFICIAL
Despite its known antagonism, nature and artifice are complementary words. They are defined by its contrasts and they reinforce each other in its mutual presence. The natural landscape emerges in contrast with the geometry of the construction, and the house seems more cozy and protective within a rough environment. Such concept allows solving this dichotomy, merging both, blurring its edges.

The facade behaves as a screen, a veil, which can be widely opened, inviting outside nature into the artificial interior.

03. RUDIMENT | SOPHISTICATION
Air conditioning systems, power lines, domotics…the contemporary life demands more and more availability of technological devices that provide comfort for its customers. From the conceptual framework this house is conceived to unfold the boundaries of such duality. A rudimentary exterior shell, made from primitive elements with a few aesthetic additions, is defined to contrast its interior technological sophistication.

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Women in Architecture Photography: 12 Names to Know

Posted: 18 Dec 2017 12:00 AM PST

In many parts of the world, such as Brazil, more women have architectural degrees than men. However, this fact hasn’t translated past college into the working world as women continue to be underrepresented.

The conversation regarding women in architecture gained tremendous traction back in 2013 with the petition for Denise Scott Brown to be recognized as the 1991 Pritzker Prize winner, alongside her husband and the consequent rejection of that request by Pritzker. Since then, not only the role but also, the recognition of women in architecture has been the topic of international debates, lectures, symposiums, and exhibitions.

We, at ArchDaily know the important part we play in promoting conversations about gender equality. To that end, the issue of gender in architecture focuses primarily on women architects and often forgets the significance of the representation of architecture in the profession.

Here, we have compiled a list of professionals whose work is essential to communicate architecture representation, all the women behind lenses.

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Spotlight: David Chipperfield

Posted: 17 Dec 2017 10:00 PM PST

David Chipperfield in 2012. Image © <a href='https://www.flickr.com/photos/br1dotcom/7886397506'>Flickr user br1dotcom</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY-SA 2.0</a>

The career of British architect David Chipperfield (born 18 December 1953) has spanned decades and continents as an architect, designer and professor. Since 1984, he has been at the helm of David Chipperfield Architects, an award winning firm with over 180 staff at offices in London, Berlin, Milan, and Shanghai. Chipperfield is an honorary fellow of the American Institute of Architects and Germany's Bund Deutscher Architekten, and was appointed a Commander of the Order of the British Empire (CBE) in 2004. In 2012, Chipperfield curated the Venice Biennale of Architecture under the theme Common Ground.

Neues Museum. Image © <a href='https://www.flickr.com/photos/stijnnieuwendijk/4230574853'>Flickr user stijnnieuwendijk</a> licensed under <a href='https://creativecommons.org/licenses/by-nc-nd/2.0/'>CC BY-NC-ND 2.0</a>

Chipperfield was educated at London's Kingston School of Art (now Kingston University) and the Architectural Association. Upon completion of his studies, he worked in the offices of Norman Foster, Richard Rogers, and Douglas Stephen before founding his own practice. Chipperfield was the recipient of the Andrea Palladio Prize in 1993, the Heinrich Tessenow Gold Medal in 1999, the RIBA Stirling Prize in 2007, and the Praemium Imperiale in 2013, among others. The practice has received over 50 accolades for design excellence from competitions around the world. Chipperfield has lectured at universities in Austria, Italy, Switzerland, the United Kingdom, and the United States.

The Hepworth Wakefield Gallery. Image © Wojtek Gurak

David Chipperfield Architects is known for an airy minimalist approach to design with an expertise in museum construction and restoration. Some of the firm's most well-known works include the Gridiron building at St. Pancras Square in London; the Musée des Beaux-arts in Reims, France; and the Neues Museum restoration in Berlin, winner of the 2011 Mies van der Rohe Award.

Museum of Modern Literature. Image © Ute Zscharnt

Check out Chipperfield's work featured on ArchDaily via the thumbnails below, and the rest of ArchDaily's coverage of David Chipperfield below those:

David Chipperfield Awarded Praemium Imperiale

David Chipperfield's Neues Museum Receives 2011 Mies van der Rohe Award

David Chipperfield to Receive the Netherlands' Sikkens Prize

CEMEX Unveils Winners of the XXIII Building Awards
The awards include a first place prize for David Chipperfield Architects' Museo Jumex in the Industrial/Institutional category.

David Chipperfield's "Radical" English Country House Considered "World's Best"

David Chipperfield Selects Swiss Architect Simon Kretz as his Protégé

Chipperfield criticizes the impotence of contemporary practice

Venice Biennale 2012: An Interview with David Chipperfield

Video: David Chipperfield and Paolo Baratta discuss the Venice Biennale 2012

TEDx: Why does everyone hate modern architecture? / David Chipperfield

The Berlage Archive: David Chipperfield (2001)

Biography via RIBA and David Chipperfield Architects.

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