Arch Daily |
- Park ‘n’ Play / JAJA Architects
- Shui Cultural Center / West-Line Studio
- KOI Cafe / Farming Architects
- Limestone Gallery / 3andwich Design
- SUSURU / Prevalent
- Housing Complex TM / Schenk Hattori
- NOMA Mexico / La Metropolitana + Studio Arq.
- James Stewart Polshek Wins 2018 Gold Medal
- House in Rapel / 2dm
- Carmody Groarke's Transparent Pavilion Will Allow for the Preservation of Historic Hill House by Charles Rennie Mackintosh
- Casa Claros / Sommet
- Allies and Morrison Wins Competition to Restore and Renovate Clandon Park Mansion in Surrey
- Making of a Forest / Mjölk architekti
- Here's What You Can Learn About Architecture from Tracking People's Eye Movements
- Five Manhattan West / REX
- Five Reasons Why You Should Enter The Fairy Tales Competition
- Migliore+Servetto Installation Lights Up Renzo Piano Skyscraper in Turin, Italy
| Park ‘n’ Play / JAJA Architects Posted: 06 Dec 2017 07:00 PM PST  Courtesy of JAJA Architects
 Courtesy of JAJA Architects Text description provided by the architects. Parking houses should be an integral part of the city. But how can we challenge the monofunctional use of the conventional parking house? How do we create a functional parking structure, which is also an attractive public space? And how do we create a large parking house that respects the scale, history and future urban culture of the new development area Nordhavn in Copenhagen?  © Rasmus Hjortshøj  South Elevation Render  © Rasmus Hjortshøj The starting point for the competition project was a conventional parking house structure. The task was to create an attractive green façade and a concept that would encourage people to use the rooftop.  Courtesy of JAJA Architects  Rooftop Plan  © Rasmus Hjortshøj Instead of concealing the parking structure, we proposed a concept that enhances the beauty of the structural grid while breaking up the scale of the massive façade. A system of plant boxes is placed in a rhythm relating to the grid, which introduces a new scale while also distributing the greenery across the entire façade. The grid of plant boxes on the facade is then penetrated by two large public stairs, which have a continuous railing that becomes a fantastic playground on the rooftop. From being a mere railing it transforms to becoming swings, ball cages, jungle gyms and more. From street level, the railing literally takes the visitors by the hand; invite them on a trip to the rooftop landscape and amazing view of the Copenhagen Harbour.  © Rasmus Hjortshøj  This posting includes an audio/video/photo media file: Download Now |
| Shui Cultural Center / West-Line Studio Posted: 06 Dec 2017 06:00 PM PST  Courtesy of West-Line Studio
 Courtesy of West-Line Studio Text description provided by the architects. Located in the Southeastern part of Guizhou Province, the Shui Cultural Center is a gateway to Sandu County, the land of the Shui. The Shui are one of the ethnic minority groups in China, most of whom live in Guizhou - where West-Line Studio works exclusively - which is why the office pays special attention to researching minority cultures and traditions in order to bring some of their particular elements into the design.  Courtesy of West-Line Studio  Elevation + Section  Courtesy of West-Line Studio Despite being few in number, the Shui people have still retained their own language, together with their unique system of pictographs. They have around 400 characters used mostly during ceremonies and sacrifices. The iconic shape of the cultural center pays homage to the Shui language, following the shape of the character for 'mountain'. The facade pattern is also inspired by Shui's traditional characters, starting again from the basic triangular shape of the mountain, which is repeated to evoke the character for 'rain'.  Courtesy of West-Line Studio  Floor Plans  Courtesy of West-Line Studio The site, which covers an area of 13,800 square meters, was created by a bend in the river, so it is surrounded by water on three sides. On the other, the West side, a water square welcomes the visitors guiding them to the entrance. Shui means water, which is why this element is so relevant for both the site and project. North of the water landscape is the Yulong tower, with a bronze drum on the top. The drum, cast in bronze, is a typical ritualistic element in Shui culture. Bronze can also be found in their altars, which inspired the architects to use perforated bronze steel plates to cover the building. The pattern makes the plates lighter - a thin skin which creates a contrast with the heavy concrete structure - breaking the sunlight to create a dramatic effect once inside.  Courtesy of West-Line Studio The concrete is marked strongly by a wooden pattern, given by the pine quarterdecks. Pine wood is one of the most common materials in the Sandu area and the contemporary concrete structure echoes the local traditional wooden architecture.  Courtesy of West-Line Studio The building itself consist of three main stripes, which combine all the functions of the tourist-cultural center. The first is the ritual hall, which with its sharp edges, strong colors and narrow space aims to create a strong first impression on visitors, who are clearly stepping into a different dimension. The second stripe still keeps the sharp roof but welcomes visitors with less dramatic tones and serves as reception hall. In the third stripe, which has two floors, at the ground level we lose the pitch roof to find a more conventional space that includes all the main functions: visitor and service center, cafeteria, toilets, business center and an upstairs office area.  Courtesy of West-Line Studio With its iconic and distinct shape, the Shui Cultural Center stands as a new contemporary landmark which pays homage to the local culture and traditional architecture. The Shui culture is evoked using particular materials and shapes but also in recreating a holy space, able to submerge the visitor who is guided into a magic journey through the Shui's ancestral world.  Courtesy of West-Line Studio  This posting includes an audio/video/photo media file: Download Now |
| Posted: 06 Dec 2017 04:00 PM PST  © Nguyen Thai Thach
 © Nguyen Thai Thach Text description provided by the architects. The aim of the construction is a café space combined with KOI aquarium, a kind of fish known as the Japanese national fish. The construction is based on a three storey house with a front yard having a total area of 88m2 (5.5m x 16m), with the requirement of designing steel structure easy to install and remove. In addition, the entire interior from the ceiling to the furniture is reused from the wood pallet material available from the owner.  © Nguyen Thai Thach  Sections  © Nguyen Thai Thach KOI CAFÉ space makes an initial impression by using the Batrang double traditional tile for the facade of the building. The roof is like a layer of film that covers the entire facade, creating an impression and attracting attention by the difference with the surrounding buildings.  © Nguyen Thai Thach  © Nguyen Thai Thach  This posting includes an audio/video/photo media file: Download Now |
| Limestone Gallery / 3andwich Design Posted: 06 Dec 2017 02:00 PM PST  © Weiqi Jin
 © Xiaohua Yang Text description provided by the architects. Here is Anlong county inSouthwest Guizhou province, where is the start point of Via ferrata in Anlong Limestone Resort. The destination of our journey is LimestoneGallery suspended on mountain top, a hundred meters above us.  © Weiqi Jin Anlong Limestone Resort is located in Haiwei, Lishu village, Dushan town, Anlong county. Here is a canyon about 700 acres, shaped like a bag and surrounded by mountains. On the north side of the canyon,there is a cliff overone hundred meters high, with its bottom touching a river meandering from hundreds of miles away.  © Weiqi Jin The river is stopped by the cliff and flows into two pits where it continues underneath the ground surface. It is the reason for being named 'Haiwei'(The end of river). Thanks to the unique context of Karst's geology, the 'Haiwei' canyon has become a paradise for outdoor sport enthusiasts, especially for rock climbers.  Circulation  © Weiqi Jin  Section LimestoneGallery islocated on the palisade of 'Haiwei' north, from where you can see the whole canyon, jagged rocks down the bottom, the river, the pit and Tourists'Center (which has been designed by 3andwich Design / He Wei Studio as well) in one view. Heads up, you can enjoyimmensepeaksfrom miles. Between sunrise and sunsets, see the changing of clouds, you will feel the happiness from the fairyland.  © Weiqi Jin The total floor area of LimestoneGallery is about 800 square meters with two floors inside, including the exhibition, conference and service area. Rooftop is used for sightseeing and the very bottom floor is designed as a outdoor lounge space. Because the site condition is too complicated (Variation in topography and existence of unstable giant rocks), the shape of the building looks like a non-symmetrical crescent.  © Weiqi Jin  Diagram  © Weiqi Jin A large portion of the construction work, such as site leveling and large size materials transporting, was done manually by local labors, due to the particular location of the site. The team went back and force on site measuring and schematic design to work out the final floor plan.  ¡. Image © Weiqi Jin The facade of Limestone Gallery is designed with curved glass wall, creating magnificent panoramic view of the Haiweicanyon for users.Meanwhile, glass texture helps communicate with its context, by using transparency to make contrast with solid mountains. The reflection of the glass also makes the building hidden on top of the cliff.  © Weiqi Jin There is no bump or obvious volume changes on the periphery to make it a sophisticated architecture piece. We believe that no man-made pieces are not comparable with the magic of nature, who 'designed' great mountain, river and special landscapes. Thus, the best way of communication is to be modest, using the simplicity of architecture to reflect the complexity of nature.  © Weiqi Jin  This posting includes an audio/video/photo media file: Download Now |
| Posted: 06 Dec 2017 12:00 PM PST  © Jan Vranovsky
 © Jan Vranovsky Situated in a prominent building from 1906, SUSURU Ramen and Gyoza bar enlivens the façade and street it rests on. Working closely with the City Council, the design breaks away from the traditional mining aesthetic typical of the area. As the city grows and develops, it attracts more foreign attention, whom don't necessarily have the same rapport with what was largely a mining town many years ago. The SUSURU restaurant is for the newcomers, for those visiting, and most importantly, for those long term residents wanting to see the city develop and diversify.  © Jan Vranovsky With the introduction of a new and foreign food type to the city, opportunity was afforded in this design for something completely fresh. Taking cues from Tokyo metro station and train design, a predominantly white interior acts as a backdrop to a yellow highlight, a signifier of the brand. To this base, we add in temporary graphic design elements, menu boards, signage, tablet covers and doors that are made to add focal points and to draw attention. These elements are cycled seasonally, much like advertisements adding life to the metro stations and train carriages.  © Jan Vranovsky  Isometric  © Jan Vranovsky As the architects, we oversaw the project from idea conception, brand development through to product and material sourcing, project management, marketing and advertising and User Experience (UX) interface design of the ordering systems. This gave us complete control over the entire process, similar in nature to Gesamtkunstwerk.  © Jan Vranovsky Where we could, local fabricators were used, particularly to re-liven the metal industry in the city, with designs for furniture, as apposed to equipment for mining. Repetitive products that could be sourced in bulk were imported from larger factories in China.  © Jan Vranovsky The response thus far from the city seems unprecedented, described as "Newcastle Urbanisation (finally)", as a "prelude to the plausible future of 2049", and resembles "what a hospital cafe might look like when drawn in a Pokémon graphic novel."  © Jan Vranovsky  This posting includes an audio/video/photo media file: Download Now |
| Housing Complex TM / Schenk Hattori Posted: 06 Dec 2017 11:00 AM PST  © Kohga Tamamura
 © Kohga Tamamura Text description provided by the architects. This overall composition is an aesthetical machine that about the co-existence of generations. As we will be removing small parts of the existing grown housing complex to divide it again, the strong and heavy stone roof will remain. In its symbolism and heritage value it is able to cultivate the in-between of the houses as it defines a covered garden as a new collective element.  © Kohga Tamamura In a first stage, a new single-family house has been built forming a new addition to the complex receiving its grammar from the existing surroundings. The house interprets the notion of assembling under a roof.  Section B The joinery of elements reminds of a traditional shoji sliding system, but its reinterpretation results in the existence of a triangular absent space. This is an enigmatic element that allows reconsidering the relationship between the inside and the outside, between the functional and the plain space to live. Its distortion is able to direct our consciousness to other areas which allow another notion of privacy and collectiveness.  © Kohga Tamamura  This posting includes an audio/video/photo media file: Download Now |
| NOMA Mexico / La Metropolitana + Studio Arq. Posted: 06 Dec 2017 09:00 AM PST  © Jason Loucas
 © Jason Loucas Text description provided by the architects. La Metropolitana is a 100% Mexican company that focuses on design. Our work’s expression is directly related to the depth of thought given to each and every one of our creative and production processes.  © Jason Loucas The design inspiration behind Noma Mexico came from the values that both companies share. To talk about Noma is synonymous to the highest quality and sophistication, as well as innovation and the ability to set new trends. Mexican culture plays a very important role in our conceptualization process; our country’s history and traditions drive our work as designers.  Plan A mixture of Mexican concepts surrounding food –such as the traditional markets that can be found throughout the country– inspired this architectonic project.  © Jason Loucas We have taken some of fundamental elements of these markets and have implemented them with a more formal and functional tone. Examples of this include the cover solutions and heights, as well as the elimination of any visual barrier impacting the view into the open kitchen. This provided every costumer with a unique experience in which they were able to appreciate the intricate cooking processes, like tortillas being prepared on a comal, one of the most ancient rituals in Mexican culinary culture Life in the great cities has made us less capable of connecting with the wilderness. In a world where everything seems to be so structured, we find it fundamental to recover our adaptive nature in order to feel the soil with our own feet again and in doing so we can realize that change relies on uncertainty.  Section BB This concept inspired us to create a line of furniture designed specifically for NOMA Mexico. The goal was to provide the costumer with a unique dining experience that stands out from the classic “fine dining” structure, while maintaining the highest standards of quality.  © Jason Loucas The collection is compiled by a series of campaign pieces, made from regional materials from the Yucatan Penninsula including: Chukum, Berjeke, Tzalam wood, gravel and local textiles. They are hand crafted by Mexican carpenters, who are true masters of their trade. The furniture can be assembled and disassembled allowing the flexibility for the costumer to enjoy the comfort he is used to whether in the depth of the jungle, the desert or the even the mountains.  © Jason Loucas  This posting includes an audio/video/photo media file: Download Now |
| James Stewart Polshek Wins 2018 Gold Medal Posted: 06 Dec 2017 08:20 AM PST  William J Clinton Presidential Center and Park (2004). Image © Timothy Hursley The American Institute of Architects (AIA) has named James Stewart Polshek, FAIA, as the recipient of the 2018 AIA Gold Medal. Lauded by the AIA for his "unparalleled vision and leadership," Polshek has enjoyed fruitful professional and academic careers as founding partner of James Stewart Polshek Architect (later Polshek Partnership and currrently Ennead Architects) and dean of Columbia University's Graduate School of Architecture, Planning and Preservation. Honoring "an individual or pair of architects whose significant body of work has had a lasting influence on the theory and practice of architecture," the AIA Gold Medal is often considered the highest honor awarded in the United States for architecture.  James Stewart Polshek. Image © Aislinn Weidele Born in Arkron, Ohio, Polshek completed his Master of Architecture degree at Yale in 1955 before founding his first firm, James Stewart Polshek Architect, in 1963. Throughout its several iterations, Polshek's firm grew to be known as a highly collaborative, inspired environment where design decisions were driven by rigorous research. Through his leadership, the firm has been the recipient of more than 200 design awards, including the 1992 AIA Architecture Firm Award and 15 National Honor Awards for Architecture.  The Rose Center for Earth and Space at the American Museum of Natural History in New York (2000). Image © Jeff Goldberg/Esto Polshek is also credited for the reinvention of Columbia University's Graduate School of Architecture, Planning and Preservation during his tenure from 1972 to 1987. In a period of uncertainty in architectural education, Polshek reimagined the school's curriculum and direction while bringing in new world-class faculty members. "Polshek's sensitivity as an architect and his willingness to give credit to others — whether they be his clients, staff or collaborators — have helped restore the promise that architecture can be an uplifting force in the world," describe the AIA in their announcement. "Everywhere that he has worked, and throughout his eloquent writings, he has raised the level of discussion while pursuing an unambiguous goal of architecture as a healing art."  Newtown Creek Wastewater Treatment Plant. Image © Jeff Goldberg/Esto  Newseum / Freedom Forum Foundation World Headquarters (2008). Image © Jeff Goldberg/Esto Key projects completed by Polshek include the 1987 restoration and renovation of New York's Carnegie Hall; the Rose Center for Earth and Space at the American Museum of Natural History in New York (2000); the William J Clinton Presidential Center and Park (2004); the 645,000-square-foot Newseum/Freedom Forum Headquarters in Washington, D.C. (2008); and the National Museum of American Jewish History in Philadelphia (2010). As the 74th recipient of the Gold Medal, Polshek joins an esteemed list of winners including Frank Lloyd Wright (1949), Louis Sullivan (1944), Le Corbusier (1961), Louis I. Kahn (1971), I.M. Pei (1979), Thom Mayne (2013), Julia Morgan (2014), Moshe Safdie (2015) and Denise Scott Brown & Robert Venturi (2016). Last year, the award was given to Paul Revere Williams, the first African-American architect to be honored. News via AIA  This posting includes an audio/video/photo media file: Download Now |
| Posted: 06 Dec 2017 07:00 AM PST  Cortesía de 2dm
 Cortesía de 2dm Text description provided by the architects. The commission consists of a summer house to be located in a rural area near Rapel Lake in a region of central Chile. The main characteristic that shapes the condition of the space is the extreme heat in summer times, a time that coincides with the greatest use of the house. In response to this requirement, the house responds with two basic strategies, it’s own shade and ventilation. The house is thought of as a volume based on its own shadow, that is, the volume itself is capable of generating its own shadow through eaves at the ends of the house. A warehouse type volume, which in turn, achieves an appropriate height to move a mass of hot air away and renew it with cross ventilation. It is added to the strategy, to incorporate timber cladding to the roof to shade and microventilate the roof sheet. With the interior itself receiving minimal direct sunlight a cool environment for its occupants can be maintained.  Cortesía de 2dm  Floor Plan  Cortesía de 2dm There is an intent to remove the kitchen as the social, active hub of the space from retreat areas such as the bedrooms and master bedroom with the kitchen receiving its own wing. In this way the volume can expand in its length, giving rest.  Cortesía de 2dm The tour of the length of the house involves receiving the weather, a gentle breeze to cross the hall from the kitchen, and as it is to exit and re-enter, the house obliges then, to take air as a gift of summer time.  Cortesía de 2dm  This posting includes an audio/video/photo media file: Download Now |
| Posted: 06 Dec 2017 06:30 AM PST  The temporary pavilion will cover Charles Rennie Mackintosh's Hill House for preservation work. Image Courtesy of Carmody Groarke London-based firm Carmody Groarke and the National Trust for Scotland have announced plans for a major project to conserve one of Scotland's most important buildings: the Hill House in Helensburgh, designed by Scottish architect Charles Rennie Mackintosh.  Hill House as it stands today © Flickr <a href='http://https://www.flickr.com/photos/hisgett/36698087814/in/photolist-XUThXY-um4aM-YAQuC3-5vCauR-5vGtMS-fUBHod-UHynxs-um2PQ-fGBnhp-ukYEt-um3io-ukYBH-um5ve-um2Hf-um432-ukXqe-5vCag8-um2mj-um2AV-um6Lw-YWQJv5-ukYq7-um3sz-um1by-XYkMYc-YZAHZK-XYJgNX-um6WY-YZAFna-um5M8-ukZtS-YWQF9q-um5YP-ukZ5o-um2eo-um2tW-um3VD-um6aZ-VZVDbr-XYkEGi-um3C3-ukZ8W-ukXY9-nqPNRC-um3M5-um7oB-5vCacT-ukX5z-um4iK-ukZjc'>user hisgett</a>. Licensed under CC BY 2.0 The Hill House was designed and built between 1902 and 1904 as a residence for publisher Walter Blackie. Billed by Mackintosh as a "home for the future," the design represented a rift from the Victorian and Edwardian styles that were popular at the time, favoring a simpler exterior made from Portland cement. The result was a smooth, flat facade that could be viewed as a precursor to Modernism. However, over the past 100 years, the groundbreaking facade has suffered from extensive moisture damage aggravated by it location near the coast, threatening the survival of the structure. This threat has prompted the National Trust for Scotland to plan efforts that will preserve the building for generations to come. The project includes the construction of a new, transparent structure designed by Carmody Groarke that will cover the historic house, protecting it from the natural elements and allowing for crucial preservation work to be conducted. The structure will also provide an enhanced experience for visitors to the site – raised platforms and viewing points will offer new vantage points to take in the historic architecture and to watch the work in progress. "The National Trust of Scotland are adopting a very bold approach to the conservation of the Hill House; one that is radical and experimentative in seeking new methods to extend the lifespan of our heritage, and one that invites public interaction and interpretation of these processes," said Andy Groarke, founding partner of Carmody Groarke. "We are very proud to play a part in this pioneering project of theirs and to have a chance to learn at first-hand about Charles Rennie Mackintosh's residential masterpiece."  Viewing platforms will allow the house to be seen from new vantage points. Image Courtesy of Carmody Groarke The temporary pavilion is designed for maximum transparency, allowing Hill House to remain visible in the landscape, while remaining breathable, which will enable to facade system to naturally dry. "The new structure is effectively a porous cage, albeit a beautifully designed one, that still allows some movement of air and a degree of moisture penetration," explained Simon Skinner, the National Trust for Scotland's Chief Executive. "Within the enclosure, visitors will be able to climb stairs and gangways for a bird's eye view of Mackintosh's masterpiece and to get up close and personal to the genius of his design. As a bonus, visitors can watch the restoration work as it progresses and then turn around to enjoy stunning views out over the Firth of Clyde." "While the Hill House is being protected from the elements, our conservation and architectural heritage teams can start work to find solutions that will respect the historic and design integrity of the building, meet the standards and obligations required by its listed status and ensure that this precious place will survive to inspire future generations."  The structure will be maximally transparent as to preserve the house's relationship to its context. Image Courtesy of Carmody Groarke The National Trust for Scotland is currently planning fundraising efforts for the project and for the preservation of Mackintosh's work throughout the country. The Getty Conservation Institute has already committed a generous donation toward the project's realization. "Charles Rennie Mackintosh was in the vanguard of using the materials and creating the kinds of buildings that became the vernacular in the 20th century," said Richard Williams, the National Trust for Scotland's General Manager for Glasgow & West. "As the 21st century progresses, more effort is being made around the globe to preserve important structures from the preceding century and the lessons we learn can be applied by others." "As generous as the Getty donation is, we as a charity are going to have to raise millions of pounds to shield, protect and save the Hill House. Working with together with our colleagues in the NTS USA Foundation, we will be launching one of the biggest fundraising drives in our history early in the New Year: we hope that everyone who has a love of Mackintosh's work and Scotland's architectural heritage will make a contribution."  This posting includes an audio/video/photo media file: Download Now |
| Posted: 06 Dec 2017 05:00 AM PST  © Leonardo Finotti
 © Leonardo Finotti Text description provided by the architects. Casa Claros is located on a slope along the riverside overlooking the city. This 1600 sqm single family house inserts itself into the terrain and takes advantage of the slope in order to portray a smaller house on the street side. Even though we are talking about a 4-story home, the façade shows a 2-story building composed of simple lines and materials.  © Leonardo Finotti The four levels that dictate the project organize the program according to access and views. The top level takes advantage of the views to the city, the river and to the golf course that lies adjacent to it. Although it normally works as a family room and an office, its open plan organization allows flexibility in terms of use and makes it possible to host big social gatherings.  Ground Floor Plan  © Leonardo Finotti  First Floor Plan  © Leonardo Finotti On the street level are all 5 bedrooms, a library and a TV room. The easy access to and from the street level make it comfortable to navigate into the floor while maintaining the connection to the amenities on the level below. Right under the bedrooms is the social area of the house: the living room, swimming pool, galleries, kitchen and chapel. Even though there is a secondary access from the street side into the public domain of the project, a continuous staircase connects all 4 levels, making it easy to access from every level of the project. The gym, sauna and music room work as an extension of the social area of the house and lie on the lower level. This level is inserted into the hill, which helps maintain the privacy.  © Leonardo Finotti  This posting includes an audio/video/photo media file: Download Now |
| Allies and Morrison Wins Competition to Restore and Renovate Clandon Park Mansion in Surrey Posted: 06 Dec 2017 04:00 AM PST  Clandon Park within the context of a historical landscape, seen for the first time from its roof level. Image © Allies and Morrison British firm Allies and Morrison has been selected as the winners of an international competition to "restore, reimagine and rebuild" the historic Clandon Park mansion in Surrey, England, bringing the the National Park property back to life after it was badly damaged from a fire in 2015. Selected from a star-studded shortlist, Allies and Morrison's proposal was lauded by the jury for its bold yet balanced approach and ability to "respect the quality and character of the mansion house in its historic setting." The jury found the proposal to be clear and thoughtful, while providing an appropriate level of drama and excitement.  Palladio room. Image © Allies and Morrison "Finding the right architect to restore Clandon Park is a very significant milestone in Clandon Park's history," said Sandy Nairne CBE FSA, Trustee of the National Trust, former Director of the National Portrait Gallery and jury chair. "The fact that many hold Clandon close to their hearts has been on our minds when thinking about its future. The jury's unanimous selection of Allies and Morrison was a result of their sensitive response to the brief, which matches the National Trust's commitment to doing what's best for the mansion, its surviving interiors and the wider estate."  A re-imagined roof terrace directly above the Marble Hall. Image © Allies and Morrison  Clandon Park roof with scaffolding © National Trust Images, James Dobson "Our approach is about balance; meticulously reinstating historically significant spaces while in others exploiting the extraordinary character of massive brick walls," commented Paul Appleton, Partner at Allies and Morrison. "New floors and ceilings are slotted into this robust matrix to re-order and to redefine, but only just as much as is needed to create timeless spaces without erasing the marks of time. From a restored Marble Hall, through the series of grand rooms on the principal floor, to a soaring new space connecting the lower ground floor to a new roof-terrace, each element plays its own particular part."  Gallery space with new floors, ceilings and walls slotted into the existing matrix of brick walls. Image © Allies and Morrison  Long section of the interior house revealing the balance of historically significant spaces and the retention of extraordinary brick walls. Image © Allies and Morrison "It is hard to imagine an architectural project which bears more directly on the question of how we respond to our heritage," Appleton continued. "We feel enormously privileged to work with the National Trust to unfold the story Clandon Park has to tell and to begin, together, to weave plans for its future around the extraordinary evidence of its past."  South and East Fronts, Clandon Park © National Trust Images, John Miller  Looking up through the fire damaged building at Clandon Park, Surrey ©National Trust Images, Andreas von Einsiedel Allies and Morrison will now work closely with the National Trust to develop the proposed concept into a final design. The architects have invited fellow finalist Purcell to join as conservation architect, with structural engineer Price & Myers and services engineer Max Fordham. A landscape architect will be selected following further development of the design. The competition was organized by Malcolm Reading Consultants. Find all of the shortlisted proposals, here. For more information, visit www.nationaltrust.org.uk/clandon-park.  This posting includes an audio/video/photo media file: Download Now |
| Making of a Forest / Mjölk architekti Posted: 06 Dec 2017 03:00 AM PST  © BoysPlayNice
 © BoysPlayNice Text description provided by the architects. Exposure of exhibition separates each photography topic into the independent space, even though together it generates outer cover. This double perception doesn´t show it all at once, but offers intimate room for each topic and together with fractional elements creates staged unit.  © BoysPlayNice  Axonometric  © BoysPlayNice Unique inside surroundings of each cell complement main topics of exhibition. Objects are made of prefabricated wooden panels. Fractional elements are coated by non-woven fabric. The color of fabric responds to function of panels. Black serves for the space where we want to set dark, white on the contrary for the illuminated space.  © BoysPlayNice  © BoysPlayNice Installation composed of panels breaks exhibition space into urbanized environment. Wooden construction made of panels repeats in rhythm and gives touchstones to exhibition hall. Besides exhibition objects there is also supplementary installation which can be used as furniture or building kit for the youngest visitors.  © BoysPlayNice  This posting includes an audio/video/photo media file: Download Now |
| Here's What You Can Learn About Architecture from Tracking People's Eye Movements Posted: 06 Dec 2017 01:30 AM PST  © Ann Sussman This article was originally published by Common Edge as "Game-Changing Eye-Tracking Studies Reveal How We Actually See Architecture." While many architects have long clung to the old "form follows function" adage, form follows brain function might be the motto of today's advertisers and automakers, who increasingly use high-tech tools to understand hidden human behaviors, and then design their products to meet them (without ever asking our permission!) Biometric tools like an EEG (electroencephalogram) which measures brain waves; facial expression analysis software that follows our changing expressions; and eye-tracking, which allows us to record "unconscious" eye movements, are ubiquitous in all kinds of advertising and product development today—beyond the psychology or medical departments where you might expect to see them. These days you'll also find them installed at the behavioral research and user experience labs in business schools such as American University in DC and Worcester Polytechnic Institute (WPI) in Massachusetts. What happens when you apply a biometric measure like eye-tracking to architecture? More than we expected...
Indeed, after running four pilot-studies looking at buildings in both city and suburb (New York City, Boston, Somerville and Devens, MA) since 2015, we think these technologies stand to revolutionize our understanding of how architecture impacts people and, in a first, allow us to predict human responses, including things like whether people will want to linger outside a new building or, within fractions of a second, choose to flee. (There's more on our first eye-tracking study in the cover story of Planning Magazine, June, 2016.) In sum, we believe once you "see" how we look at buildings, you'll never look at architecture the same way again. So, here are three unexpected findings gathered from eye-tracking architecture: 1. People Ignore Blank Facades © Ann Sussman Run even one eye-tracking study and this result will hit you on the head like a ton of bricks. Put it in red lights: People don't tend to look at big blank things, or featureless facades, or architecture with four-sides of repetitive glass. Our brains, the work of 3.6 billion years of evolution, aren't set up for that. This is likely because big, blank, featureless things rarely killed us. Or, put another way, our current modern architecture simply hasn't been around long enough to impact behaviors and a central nervous system that's developed over millennia to ensure the species' survival in the wild. From the brain's visual perspective, blank elevations might as well not be there. You can see this in the study above. It shows two views of NYC's Stapleton library, one with existing windows, at right and, at left, one without them (a photoshopped version we made of the same facade). The bright yellow dots represent "fixations" that show where eyes rest as they take in the scene in a 15-second interval; the lines between are the "saccades" that follow the movement between fixations. On average, viewers moved their eyes 45 times per testing interval, with little to no conscious effort or awareness on their part, and no direction on ours. In the image at left, without windows, test-takers more-or-less ignored the exterior, save for the doorway. This is not the case with the image at right. The photos below show heat maps which aggregate the viewing data of multiple individuals. These maps, glowing brightest where people looked most, suggest how much fenestration patterns matter: they keep people fixating on the facade, providing areas of contrast the eyes innately seek and then stick to. Again and again, our studies found that buildings with punched windows (or symmetrical areas of high contrast) perennially caught the eye, and those without, did not.  © Ann Sussman  © Ann Sussman 2. Fixations Drive ExplorationWhy does it matter where people look without conscious control? That's the ultimate question. In the course of our research, we picked up a cognitive science mantra, "fixations drive exploration," and learned that unconscious hidden habits, such as where our eyes "fixate" without conscious input, determines where our attention goes and that's hugely significant. Why? Because unconscious fixations in turn direct conscious activity and behavior. No wonder Honda and GM use this technology. No wonder advertisers of all stripes do too. They want to know where we look so they can manage our behavior, making certain an ad grabs attention as intended, before it's released. They want to manage our unconscious behavior so they get the conscious outcome they desire from our brains, (without having to lift a metaphorical finger!)  © Ann Sussman And what about architecture? Eye tracking can help us untangle the fraction-of-a-second experiences that drive our actions around buildings in ways we may never realize. To see how our "fixations drive exploration," let's take the scene above; at left is Davis Square in Somerville, MA, a dense residential district near Cambridge, home to many colleges and businesses. At right, the image shows a photoshopped version of the same scene. In the past year we've asked more than 300 people at lectures where they'd rather stand and wait for a friend: in front of the blank building or in front of the building with the colorful Matisse-like mural. Amazingly—without even talking with one another—everyone picked the same place, standing in front of the mural. Why? Turns out eye tracking suggests some interesting answers. The heat map below indicates that the mural provides fixation points to focus on; these give us a type of attachment we like and seem to need to feel at our best; without these connections people apparently don't know where to go—they get anxious—and so won't select the blanker site. Amazing the power of fixations to drive exploration whether in ads or architecture. (I guess it has to be this way since we only have one brain.)  © Ann Sussman 3. People Look for People, Continually © Ann Sussman And finally, ironically, the most important thing eye-tracking studies of architecture revealed to us had nothing to do with buildings at all. Instead it suggested how much our brain is hardwired to look for and see people. We're a social species and our perception is relational. In other words, it's specifically designed to take in others. Eye-tracking studies bear this out, repeatedly. Yes, architecture matters, but from our brain's perspective, people matter more. No matter where they are. We saw this eye tracking Boston's famous Copley Square with its historic Trinity Church (c. 1877) and equally historic Hancock Tower (c.1976), which recently changed hands and is now called 200 Clarendon (see images above). In 2015, the tower featured a temporary art installation of a man standing on a floating barge. Guess where people looked? If you chose the small silhouette of the guy, you're right. Richardsonian Romanesque has its appeal, and there may be die-hard modernists out there, but when it comes to human bodies, that's what your brain wants you to focus on. (See reddest heat map.) That's where people went to look; otherwise, they barely gave the glass building a glance; it simply can't provide fodder for focus from a brain's 3.6 billion-year-old perspective. If there's one all-encompassing conclusion, it's this: we can only hope to save ourselves if we know what we are. Evolution is real and we're artifacts of the process. Eye-tracking architecture shows ancient algorithms directing us even though we can't perceive them. Architecture that's humane engages our animal nature acknowledging our remarkable history. In terms of how we take in the world, our ancestors learned the hard way to immediately look for areas of high contrast and other creatures, particularly faces, and they passed the life-saving traits on to us. These behaviors will not go away soon. So we find ourselves today, modern man, riveted to looking at the silhouette of someone outside the 35th floor of a high-rise. It truly makes no sense, unless you consider where we came from and the struggle for survival that made us. Thanks to Boston's Institute for Human-Centered Design, The Devens Enterprise Commission, Prof Justin B. Hollander and Hanna Carr '20, Tufts University and Dan Bartman, City of Somerville Planning Department for invaluable assistance and research support. For game-changing technological tools many thanks to iMotions and 3M VAS and their staff for making this type of research possible. Ann Sussman is an author, architect and biometric researcher. Her book Cognitive Architecture, Designing for How We Respond to the Built Environment (2015), co-authored with Justin B Hollander, won the EDRA award for research in 2016. More info at: annsussman.com and her blog, geneticsofdesign.com. Janice M Ward is a writer, designer, blogger and STEM advocate. She and Ann Sussman co-authored the cover story in Planning Magazine's 2016 June issue: using eye tracking and other biometric tools to help planners shape built environments. More info at acanthi.com and geneticsofdesign.com.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 06 Dec 2017 01:00 AM PST  © Laurian Ghinitoiu
 © Laurian Ghinitoiu Text description provided by the architects. REX is pleased to present Brookfield's newly transformed Five Manhattan West, a former Brutalist landmark straddling Penn Station's rail yard in New York City. Located at 450 West 33rd St, the former warehouse was once a concrete fortress completely isolated from Manhattan's west side. Brookfield invested $350 million to transform this late Brutalist building.  Before. Image Courtesy of REX  Diagram  © Laurian Ghinitoiu Spearheaded by REX, the redesign involved repositioning, recladding, and renovating the former warehouse's interior spaces. The building now features an iconic pleated glass façade; new ground-floor retail space (from re-purposed loading docks); and a two-story elevated breezeway excavated into the southern side of the building, creating a new public space with a visual connection to the High Line.  © Laurian Ghinitoiu The building now features an iconic pleated glass façade; new ground-floor retail space (from repurposed loading docks); and a two-story elevated breezeway excavated into the southern side of the building, creating a new public space with a visual connection to the High Line. Five Manhattan West boasts more than 1.7 million square feet of space throughout the 16-story building in one of NYC's most dynamic and changing neighbourhoods.  © Laurian Ghinitoiu  © Laurian Ghinitoiu  This posting includes an audio/video/photo media file: Download Now |
| Five Reasons Why You Should Enter The Fairy Tales Competition Posted: 06 Dec 2017 12:00 AM PST  Courtesy of Blank Space Project Over the last 5 years, the Fairy Tales competition has captured the imagination of thousands of participants from around the world - from students and aspiring architects, to multi-national firms and Pritzker prize winners. Here is why, if you enjoy design and storytelling, you should give it a shot this year.  Course of an Empire by Aiden Doyle and Sarah Wan. Image Courtesy of Blank Space Project 1) Fairy Tales pushes your creativity to a new level. Sure, you are a master at planning spaces and your taste for design is unparalleled. But do you always design with a story in mind? Fairy Tales encourages you to invent worlds that marry your creativity with a message, and allows you to rethink the way you approach design challenges. With storytelling guiding your design, you'll never look at architecture the same way again.  A Thousand and One Nights by Xinran Ma. Image Courtesy of Blank Space Project 2) You'll be part of something big. The Fairy Tales competition has become a repository of the social and environmental issues that are at the forefront of everyone's mind on a yearly basis. They capture the zeitgeist of the times in highly imaginative and sometimes tongue-in-cheek ways. The community of designers and creatives who participate each year spans more than 60 countries. In times when the world is often portrayed as a scary, foreign place, Fairy Tales reminds us all that we belong in the global context.  Leftovers Of A Dream by Dakis Panayiotou. Image Courtesy of Blank Space Project 3) Your work will be seen by an all-star jury, the kinds of people whose own work is changing the world. This year's winners will be selected by a jury that includes Bjarke Ingels, Daniel Libeskind, Elizabeth Diller, Thom Mayne, Roman Mars, and a dozen other of design and writing's greatest thinkers.  Up Above by Ariane Merle D'Aubigne and Jean Maleyrat. Image Courtesy of Blank Space Project 4) Top entries will be published in "Storytelling Architecture," a crowd-sourced book from Volume. The publication will celebrate the winners of this year's competition, and bring them together with the best entries from past years, for the first time ever. "Storytelling Architecture" is made possible by Volume, a new publishing platform, and will be available for pre-order in early December. You can sign up for updates here: https://vol.co/  Aishas Asylum by Chong Yan Chuah, Nathan Su and Bethany Edgoose. Image Courtesy of Blank Space Project 5) It's a lot of fun! To cap the competition, Blank Space will host a night at the National Building Museum in Washington D.C. for storytelling and inspiring talks with the winners, jurors, and the design community. All participants in the competition will be invited to attend. Enter before this Thursday, 12/7! Check out the website, download the brief, then register and start creating. Regular Registration ($55) will be open until this Thursday, December 7th, and Late Registration ($70) is available until the Submission Deadline on January 5th, 2017. All participants will receive a discount voucher for their copy of Storytelling Architecture, and two complimentary tickets to the final event at the National Building Museum. The world needs great stories now more than ever. Your stories.  This posting includes an audio/video/photo media file: Download Now |
| Migliore+Servetto Installation Lights Up Renzo Piano Skyscraper in Turin, Italy Posted: 05 Dec 2017 10:00 PM PST  Courtesy of Grattacielo Intesa SanPaolo / PH. Michele D'Ottavio A dynamic, pulsating installation is lighting up Renzo Piano's Intesa Sanpaolo skyscraper in Turin, Italy. Designed by Migliore+Servetto Architects, the installation is part of Turin's "Luci d'Artista," an annual, open-air light exhibition illuminating the squares and streets of the city.  Courtesy of Grattacielo Intesa SanPaolo / PH. Michele D'Ottavio Over 100 individual lighting screens come together to form the Greek letter, "alpha," generating a spiral movement which extends from the interior to the exterior of the building. The screens utilize silk-screen printing technology and dichroic film to create an iridescent vortex creating a vibrating structure that breathes with the wind and the space, allowing itself to be transformed by both the daylight and the darkness.  Courtesy of Grattacielo Intesa SanPaolo / PH. Michele D'Ottavio The form initiates at the heart of the skyscraper, the interior greenhouse—here, the multiplicity of the screens acts like frames in a stop motion and their materiality spawns a wave of shimmering, lustrous colors in the multi-story space. This wave of dynamic light continues to the exterior where 1 kilometer of flexed fiberglass situated 35-stories high endlessly repeats the alpha symbol and feels as if it was floating on air.  Courtesy of Grattacielo Intesa SanPaolo / PH. Michele D'Ottavio The light installation in its entirety acts as an iridescent presence where transparency and lightness transform action, movement, and light. Although composed of numerous different elements, they all come together to form a single entity to evoke a pulsating organism within the built environment.  Courtesy of Grattacielo Intesa SanPaolo / PH. Michele D'Ottavio  Courtesy of Grattacielo Intesa SanPaolo / PH. Michele D'Ottavio
 Courtesy of Grattacielo Intesa SanPaolo / PH. Michele D'Ottavio News Via: Migliore+Servetto.  This posting includes an audio/video/photo media file: Download Now |
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