Arch Daily |
- Wild Coast Tented Lodge / Nomadic Resorts
- ‘Kanaal’ in Wijnegem / Stéphane Beel Architects
- ICD-ITKE Research Pavilion 2017-18 / ICD-ITKE University of Stuttgart
- Lianzhou Museum of Photography / O-office Architects
- Birds's Nest Atami / Hiroshi Nakamura & NAP
- Immanuel Church / KYWC Architects
- Pure House Boutique Hotel / Yueji Architectural Design Office
- Light Saw House / Zen Architects
- Clément Blanchet Architecture Designs Agriculturally Inspired Research Center for Carrefour in France's Silicon Valley
- KANHA 161 House / Boyance Arquitectos
- Elizabeth de Portzamparc Unveils New Skyscraper Manifesto With Competition Winning Taichung Intelligence Operations Center
- Pharmaceutical HQ / Architects of Invention
- A “Christmas Tale of a Post-Quake Reconstruction”: Stefano Boeri Architetti’s Community Rebuilding in Amatrice
- Villa Vingt / Bourgeois / Lechasseur architects
- NCARB By The Numbers Report Reveals Positive Trends for Diversity in the Architecture Profession
- Maggie's Centre Barts / Steven Holl Architects
- Bee Breeders Announces Winners of Construction Container Facelift Competition
- Students use Complex Computer Analysis to Generate Seemingly Impossible Plastic Pavilion
| Wild Coast Tented Lodge / Nomadic Resorts Posted: 21 Dec 2017 09:00 PM PST  © Marc Hernandez Folguera
 © Marc Hernandez Folguera Text description provided by the architects. Nomadic Resorts and Bo Reudler Studio teamed up to design and construct the spectacular Wild Coast Tented Lodge - the first of its kind in Sri Lanka. Sustainability, landscape and heritage are intertwined in the design of the Wild Coast Tented Lodge. Located on the edge of Yala National Park in the south of Sri Lanka, the 36-tent safari camp welcomed its first guests in November 2017.The eco-resort's organic architecture integrates seamlessly into the site, which comprises dryland forests that merge into the rugged sandy coastline overlooking the Indian Ocean. The five-star lodge is designed to give visitors an intimate experience of Yala, celebrating the flora, fauna and culture of the area, with minimal intrusion on the landscape. Local influences were especially important, from vernacular traditions and materials to community involvement.  Courtesy of Nomadic Resorts The project was commissioned by Resplendent Ceylon, a subsidiary of Dilmah Tea, whose unique resorts offer curious travellers diverse experiences linked to Sri Lanka's history, culture and nature. The architecture references natural formations in Yala's landscape, namely the massive rounded boulders scattered throughout the park, at a macro scale, and termite mounds, at a micro scale. Adopting a human scale in between, the camp's main buildings appear as outcrops of boulder-like pavilions clustered organically together at either end of the site. Larger open volumes intersect with smaller enclosed domes that house more private functions. Connecting the welcome area at the entrance to the waterfront bar, restaurant and library is a meandering natural landscape lined with clusters of cocoon-like tensile membrane structures called Loopers.  © Marc Hernandez Folguera  Main Area - Floor Plan  © Marc Hernandez Folguera Resembles a leopard paw print, each cluster overlooks a watering hole designed to attract wildlife. The spa is set back from the beachfront. From afar, the large pavilions appear solid but upon closer inspection, they're revealed as light, open structures crafted from a woven grid shell bamboo structure clad in reclaimed teak shingles. Large, arched openings and high vaulted ceilings create a strong sense of space. The existing vegetation is retained to ensure an authentic experience of the landscape, complemented by an attractive Xeriscape of spiky plants and elegant rock balance sculptures by Adrian Gray.  © Marc Hernandez Folguera  © Marc Hernandez Folguera Whereas the architecture focuses on the exterior of the boulders, the interior reflects the treasures concealed within such as caves, crystals and veins of precious minerals. Capturing a sense of discovery, adventure and enchantment, the interior combines ecological luxury and local elegance with a contemporary edge. Echoing the context of the site, local materials such as stone, quartz and mud brick are paired with a rich palette of copper, brass, terrazzo, wood, bamboo and textiles, with a strong focus on high-quality materials that age gracefully. Highlights include the swimming pool that flows through the restaurant and bar and lights up like the night sky, an illuminated copper-leaf tree suspended in the 10m-high bamboo dome of the restaurant, mud brick seating installations and bamboo chandeliers that punctuate the main spaces. Nomadic Resorts was responsible for the architecture and landscaping  © Marc Hernandez Folguera  This posting includes an audio/video/photo media file: Download Now |
| ‘Kanaal’ in Wijnegem / Stéphane Beel Architects Posted: 21 Dec 2017 07:00 PM PST .jpg?1513829856 "© Jan Liégeois") © Jan Liégeois
.jpg?1513829830 "© Jan Liégeois") © Jan Liégeois Text description provided by the architects. A valuable, 19th-century industrial site along the Albert Canal near Antwerp (BE) is transformed into a contemporary site for mixed use. Besides workshops, museum space, offices and underground parking, the majority of the site are converted into housing units. Stéphane Beel Architects is responsible for the transformation of the silos of the old malt house, a part of the overall development project.  Model GREY SILOS .jpg?1513829841 "© Jan Liégeois") © Jan Liégeois The six remaining silos are retained and are perforated by small openings. This intervention creates several housing units. Either three closed spaces with circular floor plans (the existing silos) and an open space with a square plan (the new silo) or six closed spaces with circular floor plans (the existing silos) and two open spaces with square floor plans (the new silo). The openness of the square space – which contains the living room – makes it possible to retain the closed, solid concrete silos. The openings in the existing silos keep to a structural logic and outline specific distant views.  Third Level Plan By placing new, transparent silos at opposite sides and in the middle of the existing silos, the outlines and solidity of the silo complex are retained. The bottom sections of all the existing silos are kept all the way around, and on a raised platform also provide a museum space and entry to the housing units. The grey silos are separate from each other and where necessary are linked by glazed bridges. The two new silos adhere to the same logic. The vertical circulation is combined with the circulation of the adjacent white silos and is linked with the same type of bridge. .jpg?1513829817 "© Jan Liégeois") © Jan Liégeois WHITE SILOS  Concept Scheme The new housing function enables the silo complex to remain in existence. In their turn, the interventions and conversions ensure the implementation of contemporary requirements in terms of comfort and safety, improve the admission of natural light into the complex and form a positive contrast to the existing construction. The appeal and appearance of the silos are thereby retained. .jpg?1513829978 "© Jan Liégeois") © Jan Liégeois  This posting includes an audio/video/photo media file: Download Now |
| ICD-ITKE Research Pavilion 2017-18 / ICD-ITKE University of Stuttgart Posted: 21 Dec 2017 06:00 PM PST  © Bai Yu
 © Bai Yu Text description provided by the architects. The Sewn Timber Shell investigates the use of robotics and sensing mechanisms in combination with garment design and industrial sewing techniques to explore a new way of fabricating tailored wood structures and re-engaging with traditional craftsmanship.  Section The related research studies traditional garment patterning and connection techniques still used in fashion today and re-interprets them in a new material context. Fabric is replaced by thin sheets of plywood, which establishes an altered relation between material pliability and stiffness and thus introduces loadbearing capacity to the novel material system. Sewing plays a similar role as in garment design, as the seams enable tailoring three-dimensional curved shapes from a flat sheet material that envelope the body. If applied on an architectural scale, the seams become connections that shape the material based on the elastic bending of wood, which creates structural capacity and spatial enclosure.  © Bai Yu An adaptive robotic fabrication process enables the necessary scaling-up and the handling of the complex interrelations between the patterning shapes and the material behavior. In contrast to repetitive manufacturing processes, where automation relies on the execution of predetermined and fully defined steps, here sensing technology is employed to enable a workflow that synthesizes material computation and robotic fabrication in real time. In this process, the shape of the tailored work piece is repetitively scanned. The segments contain previously made connections in the form of markers that are tracked live for the generation of the robotic movement. Throughout that process, the wood pieces are sequentially added and permanently joined by a sewn connection. A custom digital modelling design tool is used to derive a porous, undulating, triple-layered system that coherently integrates material properties, fabrication constraints and assembly sequence. This intricate play between materiality and materialization results in a sewn shell that extends the characteristics of wood architecture and at the same time unfolds a unique textural and spatial articulation.  © Bai Yu  Detail  © Bai Yu The Sewn Timber Shell 2017 is a collaborative project by the Institute for Computational Design and Construction (ICD) at Stuttgart University and the Digital Design Research Center (DDRC) at Tongji University, Shanghai that forms part of the Sino-German Research Project "Performative Design Methodologies based on Robotic Fabrication for Sustainable Architecture (GZ 1162)" funded by the Sino-German Research Centre.  Top View The project will be on show at the inaugural exhibition "Minding the Digital" of the Design Society, China's new leading design museum in Shenzhen.  © Bai Yu  This posting includes an audio/video/photo media file: Download Now |
| Lianzhou Museum of Photography / O-office Architects Posted: 21 Dec 2017 04:00 PM PST  © Chaos Z
 © Chaos Z Text description provided by the architects. Lianzhou, a small city locates in the northern mountain area of Guangdong, has witnessed the miraculous 13 consecutive years of Lianzhou International Photography Festival, one of the most important photographic art events in China. Construction of the photography museum is considered as the generator of the old downtown's revitalization plan, and at the same time, a tribute to the city's past. Lianzhou Museum of Photography (LMP) was chosen to build in South Zhongshan Road, which local people cordially called "Old Street", a place full of local traditions and memories.The original site is an old candy warehouse which has been the main venue for the last 12 photo festivals.  © Chaos Z  Axonometric  © Chaos Z LMP is comprised of two interlocking buildings, one preserved existing 3-story concrete-frame building, and one U-shape new building constructed on the spot of two demolished wooden structure buildings. A composed façade-roof canopy of the new building shapes the roof skyline of the museum, fully respecting the urban fabric of the old town. Below the successively folded slopes of the canopy area series of galleries, inter-linked by outdoor corridors, and staircases, with exhibitions and public events taking place under one roof. The preserved building and the new U-shape extension create a rich vertical variation of the interior of the building. The U-shape gap garden in-between keeps a distance and necessary contrast between the two structures.  © Chaos Z  Sections  © Chaos Z The architect tries to break down the institutional and commemorative tradition of the museum into a three-dimensional exhibition tour that is co-existed with the old city's morphology. Fragmented sceneries of the old city and everyday life have been juxtaposed to the experience of a journey of the serious and abstract modern photographic art, but sometimes sarcastic contemporary photographic art. On top of the façade-roof canopy, an open-air theatre with a V-shape section sits right above the main exhibition hall, in connection with a steel terrace cantilevered from the preserved building's flat-roof, forming the climax of the entire spatial tour of the museum.  © Chen Xiaotie  Axonometric  © Chaos Z Almost all of the construction materials come from local. Exterior surface of the continuous façade-roof canopy is composed of gray shingle collected from demolished old houses in urban and rural areas nearby mixed withlocal dark schist called the West Bank stone, which is also used on the ground floor and the supporting walls of basement level. A collection of wooden windows collected from the demolished warehouse building has been implanted to canopy structure. Facades of newly constructed exhibition boxes feature of traditional "white iron" (galvanized steel) skin mixed with old gray brick wall segments, inter-connected with concrete corridor's and staircases armed with black steel railing panel. The only non-local industrial product, delicate soft and translucent PVC corrugated tile, is used on the inner surface of the thick and rustic façade-roof canopy.It brings a hint of warmth beyond the neutral-color architectural background (a basic requirement for photographic presentation)and, with LED lighting behind, provides a gentle soft light to the entire sheltered, and even indoor exhibition spaces.  © Chaos Z  This posting includes an audio/video/photo media file: Download Now |
| Birds's Nest Atami / Hiroshi Nakamura & NAP Posted: 21 Dec 2017 02:00 PM PST  © Koji Fuji / Nacasa & Partners Inc
 © Koji Fuji / Nacasa & Partners Inc Text description provided by the architects. I am often struck by the nests that crows build using clothes hangers. Hangers are not only durable but also highly elastic, and they offer more hooks to connect than branches and hence are easier to assemble. Crows, flying deftly across the dichotomy of natural and artificial, are creating a functional and comfortable environment.  Plan When I was thinking about how I would like to make a building like those hanger nests, I received a request from Takashi Kobayashi, a tree house builder. A tea house of 10m2 or less was desired as the showpiece of "RISONARE Atami," a new athletic zone built by Hoshino Resorts. The host tree was a great camphor tree over 300 years of age, 6m in girth and 22m tall, enshrined in a lush, virgin forest overlooking the ocean. It being a facility for the general public, we thought it should be structurally safe and easy to explain, hence we decided to create an independent building that does not touch the tree in any way.  © Koji Fuji / Nacasa & Partners Inc The site, however, was a steep slope inaccessible to heavy machineries, and the house itself would have to be established among complexly intertwined branches 10m above ground. Therefore, to enable construction by manpower using light structural members, we chose a composition employing square and hexagonal solid steel rods, 3cm in diameter. Assembling the rods by connecting the surfaces, we constructed a truss held at two points by strong hexagonal bolts. For the foundation, we carefully inserted pier type foundations between the roots in order to avoid the use of concrete and large-scale excavation. Using the structure itself as scaffolding, we assembled it by avoiding the branches as birds create their nest, adding or taking out components based on structural analysis. We mortared the room interior to be like a swallow's nest. The design leaves open the possibility for visitors to experience nest building by picking up branches from the mountain side and fitting them into walls inside. The exterior appearance and interior space have a gentle and comfortable atmosphere reflecting the bodily scale of the builders.  Section It is architecture assembled by intertwining components small enough to carry. The architecture can adapt flexibly to the tree form (as opposed to "site form") and melts into the forest crowded with dark branches.  © Koji Fuji / Nacasa & Partners Inc  This posting includes an audio/video/photo media file: Download Now |
| Immanuel Church / KYWC Architects Posted: 21 Dec 2017 12:00 PM PST  © Kang Ilmin, Kim Jongoh
 © Kang Ilmin, Kim Jongoh Text description provided by the architects. Vehicles dominating the street, night sky full of light... Our cityscape is no longer absolute nor sublime. It lacks the space where one could be engrossed in contemplation toward redemption. Yet it is quite miraculous to watch a new church being erected and believers attend a service at the crack of dawn. The scene is a testament to the sprouts of faith growing on the soil of fetishism. Immanuel church occupies the corner of the newly-developed area in Cheong-ju. As newly-developed areas usually are, buildings are covered with garish coloured signs. Hence the church is challenged to show the presence of itself in a simple and restrained fashion.  © Kang Ilmin, Kim Jongoh  First and Second Level Plans  © Kang Ilmin, Kim Jongoh The church delineates its rectangular outline on the trapezoidal site while it contains education and maintenance facilities on its bottom and the main chapel on its superstructure. The lower mass is built with bricks whereas the upper mass is fabricated with a glass wall. At a certain part of the exterior, the bricks and glass wall encounter in a delicate manner. Finally, an emergency staircase, entrance stairs and bell towers complete the edifice. Those additional elements clarify the relationship between the building and the city. By directly connecting the street to the third-floor level chapel, entrance stairs draw the street into the building without detriment to the existing urban flow.  Section A and B Meanwhile, the two towers exhibit themselves toward opposite directions and successfully articulate the trapezoidal shaped site. Above everything else, the main chapel is the protagonist that defines the church. 15m span roof is solely supported by 7.5x15cm thin columns. In addition, translucent glass walls conceal that thin column, therefore one would think the roof is floating in the air. The light wall is then sliced by mullion caps creating certain proportion. Sandblasted surface of the light wall approaches the believers as God's presence. Nothing remains but to worship under the holy light. Holiness does not come from icon nor from the precious material but from light. Immanuel church truly shows its presence by light. Over brick and glass, gravel and sand, will the light exists.  © Kang Ilmin, Kim Jongoh  This posting includes an audio/video/photo media file: Download Now |
| Pure House Boutique Hotel / Yueji Architectural Design Office Posted: 21 Dec 2017 11:00 AM PST  © Arch-Exist, MConcept
 © Arch-Exist, MConcept Dali is the god-given place based on its excellent natural scenery and cultural environment. It was represented in the article of Wang Shixing, the geographer in Ming Dynasty: "The Cangshan Mountain has 19 peaks, all the peaks are always covered with snow, snow still exists in May. But camellia and peaches and plums have bloomed with bright color at the foot of the mountain. Also, among the 19 peaks of the Cangshan Mountain, there is a stream originated from each peak and jointed into the Erhai Lake. Above the side of the river and the foot of the mountain, there are people living there. Four streams flow into the city, and the other 15 streams flow through the village, the stream comes across every square of the field of Dali people. Every April and May, it often suddenly rains here, and suddenly clears up, for just a field apart. When it is raining, people will do the transplanting, when it is sunny, people will harvest the wheat. As for this scene, it is called "Field and stream, sunny and rainy". This place has been regarded as a paradise, isn't it？I have been travelling around the country. This is the only place that makes me intoxicated. I would like to put aside the common life to live in seclusion here."  © Arch-Exist, MConcept Dali has nourished a lot of interesting architectural practice, it provides a brand-new intervention form for the design with unique site environment. Pure House Boutique Hotel is located in the Cangshan International Golf Community of Dali. With Cangshan Mountain on the back and Erhai Lake in front, it is the place with excellent geomantic culture. The geographical location of the foot of Cangshan provides the view of the whole Erhai Lake and ancient Dali City. To watch from the east side, the pavilions of Chongsheng Temple from not far away are continuous from the Three Pagodas to the hillside of Cangshan. The audience hall of double eaves is hidden by thick forests. You will enjoy the magnificence of the Dali mountains and rivers in a glance of here.  © Arch-Exist, MConcept The building has been blended in the site with humbleness. Close to Cangshan and overlooking Erhai, combined with the nature harmoniously. The building is located on the slope of the foot of Cangshan. The mountain is covered by luxuriant greenery, which spreads all the way up, goes through the clouds and mists in the mountains, eventually combines with the snow and clouds on the peak. Stay in the building and look up toward Cangshan, you will feel "lofty", green peak floating in the clouds and mists. The mountain is towering like in the painting Landscape Travelers Among Mountains and Streams; Across the cascading mountain and farmland to watch Dali City in a distance, you will feel "profound and lasting". The houses are built vertically and horizontally like in the painting Dwelling in the Qingbian Mountains. Stand on the terrace of the roof and overlook the lake, you will feel "peaceful and lasting", the water is clear, the boat is floating, the peaceful and spacious scene is like in the painting Dwelling in the Fuchun Mountains. Pure House creates a unique spatial experience based on a series of narrative spaces integrating with narrative sites.  © Arch-Exist, MConcept The entrance is at the corner of the architecture. It is not very conspicuous. There are several steps under the ground. Against it, there is a mirror pool in the side yard. There stands an old and tall Malus asiatica fruit tree. Pass the entrance porch, reach the reception room, and start the space experience in an indirect way. The entrance space is located in the central lobby with double height, which is the core of the entire ground floor. At the center, a huge top-hung fireplace strengthens the core sense of the space while other public areas are scattered around it.  Courtyard Analysis There is a yard both in front and at the back of the lobby. It can add light and provide inward scenery for the submerged ground floor. There is French window between the two yards and the lobby, the sight can reach front yard and back yard. It forms the feeling of transparency, in the meanwhile, it is interlaced with the main line formed by east-west stairs and walkways. The submerged front yard and back yard are the echo for the natural slope, at the same time it avoids the distraction of people stream and traffic stream on the major avenue. Thus build a silent independent communication space.  © Arch-Exist, MConcept The ground floor is mainly public space, while 1st to 3rd floor are all guest rooms. Every guest room has a huge terrace and French window. It will put all the excellent scenery of Erhai Lake and Cangshan Mountain inside the room. The balcony overhangs outwards, which are overlapped between the layers. It adds a few changes for the facade and even a sense of light weight for the whole architecture.  © Arch-Exist, MConcept  © Arch-Exist, MConcept The top floor is the upsurge of the whole architecture. There is a rectangle wading pool facing the Erhai, it is not only like a mirror that reflects the most beautiful convective clouds in Dali, but also like a delicate continuation for sending out the sight to the place far away. The endless pool brings a sense of ceremony, which raises the architectural space to an upsurge. It is also an awe and respect for the natural beautiful scenery.  Exterior and Courtyard. Image © Arch-Exist, MConcept The side facing the Cangshan is a sunlight room with three sides of transparent glass, the altitude difference of two steps raises the space of the sunroom for a little, it endows the posture close to Cangshan. The furniture are all low benches. If you sit cross-legged, surrounded by the green mountains, you will feel a sense of Zen.  © Arch-Exist, MConcept The two terraces are the best place to enjoy the scenery, when you look up, you will see the floating clouds, when you look down, you will see the Ancient City and the Erhai Lake. At night, it is quiet nearby, there is only clear soughing of wind in the pines. Light a candle, take a sip of wine, with flash lights shining in the city and village alongside Erhai, as if the architectural space is dispelled in the night.  Exterior and Courtyard. Image © Arch-Exist, MConcept The use of materials in the Pure House also holds the feature of low-key. The main part is coarse bare concrete, in match with wooden grating and wooden frame, the top layer is wood based, more compatible with the nature. The first layer is surrounded by stone walls and comes out from the slope. Moreover, the overall color is very restrained, without the feeling of abrupt from the landscape.  © Arch-Exist, MConcept The owners of Pure House Li Jun and He Biao are also the designers of the house. This project has completed their dreams of architects from the age of their student hood. From the site selection, design concept, site supervision, construction guidance, to every stone, every tree, every flower and plant, we can always feel the devotions of the designers to Dali and to life. The emotional design has reached a smooth and moving detail, arousing every guest's feelings.  Exterior and Courtyard. Image © Arch-Exist, MConcept The interior design has completed by Xie Ke and Zhi Hongxin from Shang Yi Yang Decoration. They are also good friends of the designers for many years, they have a very high degree of coordination with the same cognitive, tacit and understanding of the project. Most of the interior furniture are selected by the designers from Southeast Asian countries, the texture and color agree with the quality of the architecture itself. The mix-and-match of the furniture with different materials has given every space redefinition.  © Arch-Exist, MConcept The sunlight is very clean and pure when the weather is fine. Hence the light is a very important element for the space here. Many spaces in the Pure House have the design for light. It uses sunlight inside the room to create extremely attractive shadow variation. The glass around four sides and skylight on the top floor, as well as the French window facing every guest room, are all the best echo for the sunlight. The furnishing display of interior design has meticulously considered the influence of the shadow. The geometrical relationship of wooden cabinet, terrine and hanging decoration looks good against the shadow, therefore, every detail of the corner can withstand scrutiny.  © Arch-Exist, MConcept The Pure House Boutique Hotel has around 1500㎡construction area with only 13 guest rooms, coordinating with the open scenery. The whole interior spatial scale is wide and harmonious, which brings the guests comfortable living experience. Integration of planning, investment, construction and operation results in the controllability and meticulous service and also enhances the living quality.  © Arch-Exist, MConcept The temperature and humanity brought from the narrative space in the Pure House are the most attractive part, which represents the missed humanity value in the functionalism design, responses to the nature and merges into the nature with a gentle manner, and then dispels the architecture in the environment. In the meanwhile, it also provides the guests with different physical and mental experiences of residing.  © Arch-Exist, MConcept  This posting includes an audio/video/photo media file: Download Now |
| Light Saw House / Zen Architects Posted: 21 Dec 2017 09:00 AM PST  © Derek Swalwell
 © Derek Swalwell Text description provided by the architects. Our Light Saw House represents a contemporary, design based solution to sustainable architecture.  © Derek Swalwell Built upon an existing double fronted Edwardian weatherboard, our clients sought a local architectural response to a property they had owned for some time, but not lived in for 15 years whilst overseas.  © Derek Swalwell To accomplish the project requirements, the original house was retained, but retro-fit in such a way as to exceed current building standards. A compact extension to the rear addresses the need to bring light and warmth over the top of the existing house. The volumes created allow the compact floor plan to feel generous and in proportion to the original house while simultaneously allowing for garden views from all new rooms.  Ground Floor Plan Recycled or recyclable materials are preferenced throughout. Existing external brick paving, paths and garden beds were salvaged and re-imagined internally to connect the garden to the wet areas. Key trees, retained and protected during construction, now thrive within a newly landscaped environment  © Derek Swalwell  This posting includes an audio/video/photo media file: Download Now |
| Posted: 21 Dec 2017 08:00 AM PST  Courtesy of Clément Blanchet Architecture Clément Blanchet Architecture has been selected as the winners of a competition to design the new research and development center for multinational retailer Carrefour to be located in Saclay, in the heart of the French Silicon Valley.  Courtesy of Clément Blanchet Architecture The architectural program of the future Université des Métiers (UDM) is centered around 3 major areas: the laboratories, executive education and the learning lab. To organize these elements to create an inspiring and highly functional setting, the architects chose to implement four major architectural concepts. One, the very dense program was fragmented; two, the programmatic entities were opened towards the landscape; three, the program was reorganized from most private to most public; and four, all the programmatic entities were reunited by a roof capable of making visible the institution at the scale of the large territory.  Courtesy of Clément Blanchet Architecture "To respond to this dense programming, we have rationalized the demand for a collective and social ambition," explain the architects. "Instead of compartmentalizing each universe of the building, we wondered about their potential complementarily by seeking to create a framework which fosters the exchange of ideas and knowledge and provides the opportunity to live in a shared environment. Pulling the program elements apart allowed for the creation of a central social forum at the heart of UDM. This main hall will serve as the "place of collective life," providing access to the auditorium, showroom, cafeteria and work space. By leaving the floor open, the space can be transformed to host a variety of events or be reconfigured into office or laboratory space.  Courtesy of Clément Blanchet Architecture  Courtesy of Clément Blanchet Architecture  Courtesy of Clément Blanchet Architecture The outer nodes have also been conceived to foster interaction – young researchers and executives alike will circulate freely from one node to another, opening up access to knowledge and increasing opportunities for chance meetings.  Courtesy of Clément Blanchet Architecture  Courtesy of Clément Blanchet Architecture Paying respect to the site's agricultural past, the center will also contain dedicated green spaces referred to as 'greenhouses' and 'green lobbies' that reconnect nature to knowledge. These spaces also symbolize the important role of agriculture to the Carrefour Group. "The project highlights 'the privilege of the site' by opening its natural spaces to knowledge," explain the architects. "At first, the place feels untouched because the site is largely defined by the presence of abundant vegetation and a pre-existing farm. The architecture will create the link between the users within this new knowledge farm." The current project timeline estimates completion by 2020.  Courtesy of Clément Blanchet Architecture
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| KANHA 161 House / Boyance Arquitectos Posted: 21 Dec 2017 07:00 AM PST  © David Cervera Castro
 © David Cervera Castro Text description provided by the architects. The land is located in the Yucatan Country Club Golf Club, an real state development of controlled access settled on a surface of more than 330 hectares, located in Cha-blekal, commissary to the north of the municipality of Mérida, which houses interior different residential proposals arranged around a golf course, many variety of gardens and numerous lakes.  © David Cervera Castro The area for the development of the project is located in front of the golf course of the complex so it has a privileged view of it; and it has a surface of 778m², of which it has 20.00 meters of front and 38.90 meters of bottom with orientation east - west.  © David Cervera Castro Taking into account the needs of the user and the environment, the program was resolved in two architectural plans giving a total area of 536.92m².  Lower Floor Plan The concept of the house was to create the large social block overlooking the golf course, with a terrace, which, by orientation, is given a treatment to block it from the sun, but at the same time to be able to enjoy the view. It is located a central patio located to the north of the used land to be able to create a crossed ventilation inside this one and to be able to open all the spaces of the interior, creating views towards the golf course and the patio; the services were located in the southern part of the land as buffer of the house. On the upper floor, the bedrooms are located in a totally prívate area. The program was solved in an area of 536.92m².  © David Cervera Castro The main façade faces the west, so a very private and closed image was created, which in turn makes the house open to the interior. On the upper floor the bedrooms are located in a totally private area.  © David Cervera Castro  This posting includes an audio/video/photo media file: Download Now |
| Posted: 21 Dec 2017 06:15 AM PST  Courtesy of Elizabeth de Portzamparc Architecte Elizabeth de Portzamparc has been selected as the winner of an international competition for the design of the new Taichung Intelligence Operation Center in Taichung, Taiwan. Conceived as a 'vertical interconnected neighborhood,' the tower grows from a series of terraces at its base that turn to become the facade. Viewed as an extension of the city, the five levels of the podium will be accessible to the public, offering a variety of retail and restaurant options as well as access to the 24,000-square-meter Digital Cultural Center. These spaces will be connected by a series of ribbon-like 'vertical streets,' passing through spacious, light-filled atriums and connecting to rooftop green spaces.  Courtesy of Elizabeth de Portzamparc Architecte  Courtesy of Elizabeth de Portzamparc Architecte The overall form of the building is determined by three main criteria: protection against and harnessing of wind, views and solar optimization for natural light and shading. Surrounding the central core, a load-bearing exoskeleton provides reinforcement against wind forces and directs them for use in cooling and refreshing the building's inner spaces. Inside, spaces are designed for maximum flexibility. By pushing structural systems to the outer walls of the building, interiors remain open and free to adapt to a number of uses. This also allows floor plates to change in shape and size, creating vertical connections within the tower's micro-neighborhoods. Cladding the structure, a back-lit glass facade will give the building a digital aesthetic and allow for control of light into the building.  Courtesy of Elizabeth de Portzamparc Architecte  Courtesy of Elizabeth de Portzamparc Architecte  Courtesy of Elizabeth de Portzamparc Architecte The architects refer to the project as an architectural manifesto for a 'fourth generation' skyscraper, which is defined by its openness, integration into its context and the city, and being made up of smaller neighborhood units conducive to social interactions. The architects explain: "The tower is no longer an interruption of urbanity, a parenthesis in the city; it becomes an extension of it."  Courtesy of Elizabeth de Portzamparc Architecte  Courtesy of Elizabeth de Portzamparc Architecte  Courtesy of Elizabeth de Portzamparc Architecte  Courtesy of Elizabeth de Portzamparc Architecte
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| Pharmaceutical HQ / Architects of Invention Posted: 21 Dec 2017 05:00 AM PST  Courtesy of Architects of Invention
 Courtesy of Architects of Invention Text description provided by the architects. The building is located on a very tight site, surrounded by residential blocks, a music school and nursery in Moscow's historic city centre, off Arbat Street, the main, pedestrianized shopping street which runs for almost one kilometre through the city. AI's work involved the complete demolition of an existing 4-storey office block, replacing it with a new 7-storey office building with a single level underground car park and public space at the base of the building.  Courtesy of Architects of Invention The site boundary defined the shape of the building in plan, suggesting two rectilinear volumes - that are merged with an angular rotation and served by a common lift - as the most practical use of the space. The façade responds to and emphasises the meeting point of the two blocks with an altered, diagonal rhythm of the Jura marble fins that cover the building. The window panels are recessed from the fins by 40cm to give privacy and deflect solar glare.  Courtesy of Architects of Invention  Section E  Courtesy of Architects of Invention The different heights of the buildings' volumes create an interesting visual tension, as well as ensuring observation of local rights of light and showing sensitivity to local context in terms of the surrounding buildings. Thus the 7-storey volume responds to the higher blocks behind it, while the lower invites access via the courtyard, drawing attention to the entrance as there is no direct street access. Sunken terraces to the east and the west of the building can be accessed from the lobby.  Courtesy of Architects of Invention  This posting includes an audio/video/photo media file: Download Now |
| Posted: 21 Dec 2017 04:30 AM PST In August 2016, a powerful 6.2-magnitude earthquake struck central Italy, resulting in the loss of nearly 300 lives and the destruction of centuries-worth of historic architecture. At the center of the destruction was Amatrice, a beautiful hill town set in the Latium Apennines, which was reduced to mere rubble, leaving hundreds dead or injured and the survivors homeless. But the community could not be held down. Shortly after the disaster, rebuilding efforts began, with the assistance of some of Italy's top architects, including Renzo Piano and Stefano Boeri Architetti, who were able to construct a brand new canteen in just a few weeks time.  © Paolo Rosselli In this new video from Milanese film production company "The Blink Fish", the process of building the canteen and the larger "Polo Del Gusto" (Fine Food Complex) – completed this past July – is documented in full detail, from the haunting memory of that August day to the celebration of the completion of the new structure, featuring stories of compassion, communal willpower, solidarity and awareness.  © Paolo Rosselli "The Polo del Gusto consists of a series of buildings spread over an area of 8,000 sq meters all dedicated to food and conviviality: a new town square which, as well as the canteen, hosts eight of the town's historical restaurants, which were wiped out by the quake," explain the architects. The video showcases the architects and community's race against time, proving – as Stefano Boeri remarked – "that even in an emergency, it is possible to deliver things of quality that are destined to last."  © Paolo Rosselli  © Paolo Rosselli Check out the video to experience the full emotional story. Credits from the architects: Corriere della Sera newspaper and the TV News program of La 7 have collected donations from all over Italy, the firm of Stefano Boeri Architetti has donated and coordinated the project, the region of Friuli Venezia Giulia has made an operative contribution through the Innova FVG Consortium in the way of prefabricated modular wood elements, produced in the same region. [The project] would never have seen the light without the impassioned enthusiasm and the perseverance of the restaurateurs, the municipal administrators and the entire population of Amatrice.
Video and news via Stefano Boeri Architetti  This posting includes an audio/video/photo media file: Download Now |
| Villa Vingt / Bourgeois / Lechasseur architects Posted: 21 Dec 2017 03:00 AM PST  © Adrien Williams
 © Adrien Williams Text description provided by the architects. The Villa Vingt is anchored on a sloping site next to the ski resort Le Relais. The upper ground offers a magnificent view of the Laurentian hills and Lac-Beauport's residential area. The project builds on the existing foundations of the client's home in order to retain some acquired rights. The owners know the site's qualities very well for having lived there many years. The project is inspired by the site and its accentuated relief. Level 1 acts as a base; it leans against the ground and opens up completely to the north. The upper floor seems to float above the concrete ground floor.  © Adrien Williams The living areas are cantilevered to create unique painting-like views. The maximized fenestration offers an unobstructed view of the mountain landscape. The roof overhangs stretch over the exterior decks. The access road below ensures the privacy of living spaces despite the generous fenestration. As we approach the house, we discover the richness of the white cedar ceiling covering the upper floor. This warm material expands beneath the roofs to emphasize the continuity between the interior and exterior. Volumes and materials unite to create a distinctive entrance. The sloped roof integrates the project into its built environment in a respectful way.  © Adrien Williams  Floor Plans  © Adrien Williams The geometry of the volume and the choice of window positions create surprising atmospheres that change according to interior functions. The dining room's zenithal skylight offers an elegant view of the treetops and allows indirect light to play on the cedar laths. The central concrete wall gives the project verticality. Its rough finish shows the marks left by the formwork. The staircase next to it reveals its richness through the duality of the authentic materials surrounding it, namely concrete and steel. This home creates a strong presence in the panorama. The interaction between volumes and the main façade's horizontality is reminiscent of some California villas.  © Adrien Williams  This posting includes an audio/video/photo media file: Download Now |
| NCARB By The Numbers Report Reveals Positive Trends for Diversity in the Architecture Profession Posted: 21 Dec 2017 01:30 AM PST  Courtesy of NCARB It's no secret that the architecture field struggles with diversity. Both personal stories and deeper studies detail the profession's lack of representation. But despite concerns suggesting diversity in the field remains stagnant, there's good news: the latest data from the National Council of Architectural Registration Boards (NCARB) reveals that gender, racial, and ethnic diversity is slowly improving. The 2017 edition of NCARB by the Numbers (NCARB's annual data report) indicates that while the number of architects and licensure candidates holds steady, the pool of individuals is more diverse than ever before. Although there is still much room for improvement, this data provides an encouraging glimpse into the future of the profession. Improved Equity and DiversityNCARB's data reveals that progress is steadier and faster when it comes to gender. In 2016, gender equity improved along all career stages for the first time—from the early stages of a career in architecture to becoming a licensed architect and beyond. Women now account for 36 percent of newly licensed architects, up two percent from 2015. Women also earn an initial license almost 10 months sooner than their male peers. Comparatively, racial and ethnic equity is progressing more slowly, especially among practitioners. Last year, racial and ethnic diversity among Architectural Experience Program™ (AXP™) and exam candidates improved slightly—up three percentage points for both groups. At the same time, diversity among newly licensed architects and NCARB Certificate holders remained the same. However, growth in early career stages suggests that these numbers will improve as candidates progress toward licensure. But even while diversity strengthens across early career stages, there's still work to be done: while 4 percent of new NCARB Record holders identify as Black or African American, that number would have to more than triple to reach the 13 percent seen in the the US population, according to the Census Bureau.  Courtesy of NCARB Breaking Down BarriersThere are many factors that contribute to the lack of diversity in architecture, ranging from the economic to the personal. According to the American Institute of Architects' (AIA) 2015 survey on Diversity in the Profession of Architecture, these include:
Additional factors contribute to the field's unequal gender representation, such as lack of job flexibility and work-life balance. In an effort to address some of these barriers and make licensure more accessible to candidates of all backgrounds, NCARB has made several program changes to help eliminate unnecessary hurdles. Recent updates include a reduction in the AXP's required hours and the re-alignment of experience areas, as well as the ability to retake an exam in just 60 days. Together, these changes are intended to streamline the time to licensure, allowing individuals to work toward greater earning power earlier in their careers. Other updates include new alternative routes to licensure and certification for individuals who may not follow a straightforward path to licensure. NCARB has also introduced the Integrated Path to Architectural Licensure (IPAL), which enables students to work toward licensure while in school. These changes may not have an immediate impact on diversity in the field, but they could help open doors to a wider pool of candidates.  Courtesy of NCARB What's NextOver the next several years, NCARB hopes to see the impact of recent program changes reflected in architecture's gender, racial, and ethnic diversity. In the meantime, the profession must examine additional ways to encourage growth in those groups that remain underrepresented. A key step is seeking out ways to create role models by promoting diversity in architectural leadership—both women and people of color remain a small percentage of authority figures in firms and other organizations within the profession. To learn more about diversity in architecture, visit our interactive NCARB by the Numbers database.  This posting includes an audio/video/photo media file: Download Now |
| Maggie's Centre Barts / Steven Holl Architects Posted: 21 Dec 2017 01:00 AM PST  © Iwan Baan
 © Iwan Baan Text description provided by the architects. The site in the centre of London is adjacent to the large courtyard of St. Bartholomew's Hospital. Founded in Smithfield in the 12th century, the hospital is the oldest in London and was founded at the same time as the St. Bartholomew the Great Church in 1123. Rahere founded the church and hospital "for the restoration of poor men." Layers of history characterize this unique site, connecting deeply to the Medieval culture of London. While most all of the realized Maggie's Centres have been horizontal buildings, the centre at St. Barts will be more vertical, sitting on the historically charged site. It will replace a pragmatic 1960s brick structure adjacent to a 17th century stone structure by James Gibbs, holding the "Great Hall" and the famous Hogarth staircase.  Sketch  Sketch The building is envisioned as a "vessel within a vessel within a vessel." The structure is a branching concrete frame, the inner layer is bamboo and the outer layer is matte white glass with coloured glass fragments recalling "neume notation" of the Medieval music of the 13th century. The word neume originates from the Greek pnevma, which means 'vital force.' It suggests a 'breath of life' that fills oneself with inspiration like a stream of air, the blowing of the wind. The outer glass layer is organized in horizontal bands like a musical staff while the concrete structure branches like the hand. The three-story centre has an open curved staircase integral to the concrete frame with open spaces vertically lined in bamboo.  © Iwan Baan  Section  © Iwan Baan The glass facade geometry, like a musical "staff", is in horizontal strips 90cm wide, which follow the geometry of the main stair along the north facade, while lifting up with clear glass facing the main square, marking the main front entrance. There is a second entry on the west opening to the extended garden of the adjacent church. The building tops out in a public roof garden open to a large room for yoga, Tai Chi, meetings etc. The interior character of this building will be shaped by coloured light washing the floors and walls, changing by the time of day and season. Interior lighting will be organized to allow the coloured lenses together with the translucent white glass of the facade to present a new, joyful, glowing presence on this corner of the great square of St. Barts Hospital.  This posting includes an audio/video/photo media file: Download Now |
| Bee Breeders Announces Winners of Construction Container Facelift Competition Posted: 21 Dec 2017 12:00 AM PST  First Prize. Image Courtesy of Bee Breeders Bee Breeders have announced the winners of the Construction Container Facelift architecture competition. The competition jury received a wide range of work, but selected proposals which were based on a realistic implementation of a novel solution, maintaining the inherent durability and functionality of the shipping containers versus altering them strictly for aesthetics. First PrizeCCIPV: Construction Container Integrated Photovoltaics: Saule Technologies, Katarzyna Formela  First Prize. Image Courtesy of Bee Breeders Saule Technologies in Poland submitted Construction Container Integrated Photovoltaics which took a modern approach along with a high-tech solution to improve both function and aesthetics of the containers. The exterior design is ink-jet printed solar cells, allowing the designs to harvest solar energy and be stored within the portable battery stations.  First Prize. Image Courtesy of Bee Breeders
 First Prize. Image Courtesy of Bee Breeders Second Prize & Green AwardAn Urban Container Jungle: Cuhaci & Peterson, Aram Piligian Jr, Jeff Simmons, Devin Marine Cressman, Martin Dion
The second place winners, Cuhaci & Peterson tackle creating a blend of nature in a 'concrete and steel jungle'. The jury selected the project for its state of the art technology, producing a simple and environmentally-friendly solution.  Second Prize & Green Award. Image Courtesy of Bee Breeders
 Second Prize & Green Award. Image Courtesy of Bee Breeders Third PrizeA Container Surprise: Ludovic Marx  Third Prize. Image Courtesy of Bee Breeders  Third Prize. Image Courtesy of Bee Breeders Ludovic Marx of Austria created A Container Surprise takes into consideration the contrast between day and night uses. During daylight, the containers appear 'invisible' clad completely in one-way mirrors. At night, placed between the container face and the one-way mirrors, there are various light features which illuminate. Different types of lighting effects support various programs, such as public art for cultural events, billboards for advertising, or bold neon to compliment street markets and pop-ups.  Third Prize. Image Courtesy of Bee Breeders
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| Students use Complex Computer Analysis to Generate Seemingly Impossible Plastic Pavilion Posted: 20 Dec 2017 10:00 PM PST  © Maggie Janik Testing the limits of structural viability and computer-based modeling, the 2017 Komorebi Pavilion used thin sheets of polyethylene terephthalate (PETG) in a unique way to develop an ethereal, self-supporting enclosure. The pavilion is the result of a collaboration between architecture students at Harvard Graduate School of Design (GSD) and engineering researchers at the University of Tokyo.  © Maggie Janik The project, spanning six months, was lead by Cambridge-based architect Mark Mulligan (Associate Professor in Practice, GSD) and Tokyo-based structural engineer Jun Sato (Associate Professor, Tokyo University), who first met in July 2016 to organize the framework for the project. A charrette in November 2016 at GSD asked 60 students to design a free-standing, occupiable pavilion that uses only the 3/32" sheets of PETG. The project sought to explore how the application of advanced computational analysis could be used to design, fabricate and assemble redundant structural forms. __in_Japanese__describes_the_spatial_effect_of_%E2%80%9Csunlight_streaming_through_a_tree_canopy%E2%80%9D.jpg?1512481189 "© Maggie Janik") © Maggie Janik Komorebi – a Japanese word describing the spatial effects of "sunlight streaming through trees" was offered by Sato as the thematic driver of the design, encouraging the students to consider the conditions of light and enclosure, and use 2D Spectrum Analysis software to test the effects of random light-scattering. This would also have the effect of de-emphasizing the structural legibility of the system.  Algorithms Sato and his team has developed to convert free-form configurations into structural analysis models. Image © Maggie Janik _to_each_module.jpg?1512481366 "© Maggie Janik") © Maggie Janik The idea was to push the boundaries of the material, connection possibilities and the form produced. No additional materials or connectors were allowed. The students were challenged to avoid conventionally "stable" structural forms in order to test the viability of irregular shapes.  © Maggie Janik  © Maggie Janik Three teams were selected at the end of the charrette to merge their best ideas into a single design scheme that would be developed over the following two months using physical and computer modeling and exchanging sketches and data with Sato's team in Tokyo. A variety of modular geometries were analyzed for their ability to interlock in different configurations, orientations, angles, and distances to other modules. The process was not without trial. Early mock-ups of the joinery proved the PETG sheets to be more prone to bending than expected. Rigidity was increased through the use of heat-slumping – introducing double curvature. Alongside smaller scale development of module geometry and joinery options, massing schemes of the potential forms were proposed and evaluated by complex algorithms produced by Sato's team that convert free-form configurations into structural analysis models.  Typical Module. Image © Maggie Janik  Sketches of Module Iterations The project was fabricated in Autodesk's fabrication facility in Boston – BUILD Space, who hosted the GSD team and two research associates for two weeks in January. The assembly of the pavilion including a couple of collapses, reinforced for the students that they were working with a system on the edge of structural viability, and highlighted the discrepancies between the actual artifact and the idealized computer model.  © Maggie Janik The Komorebi Pavilion was on display in the BUILD Space for a month and then reassembled for the GSD's commencement show in May 2017 at Gund Hall. It was well received and several students had visitors inquiring as to what was holding it up, proving the success of the experimentation, the concept and the end product. Project title: Komorebi Pavilion  This posting includes an audio/video/photo media file: Download Now |
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