Arch Daily |
- Patio House / Juan Marco Arquitectos
- Residence Zeta / PERUZZO Architettura
- Street Canvas II / TA architect
- Why an Accounting Method Will Change the Way You Work
- Baan Bangpakok / INchan atelier
- IronSource / RUST architects
- Venice Isn't Sinking, It's Flooding – And It Needs to Learn How to Swim
- The Lichen House / Schwartz and Architecture
- 10 Stylish Images of Cars and Architecture: The Best Photos of the Week
- Booom City / Vilaplana&Vilaplana estudio
- The Best Music Videos for Architecture Fans in 2017
| Patio House / Juan Marco Arquitectos Posted: 31 Dec 2017 09:00 PM PST  © Diego Opazo
 © Diego Opazo Text description provided by the architects. The house is located in the Horta Sud area, just a few kilometers away from Valencia and on the bank of La Albufera. The town is spread over a wide and fertile alluvial plain, sunk from the Miocene epoch, which raises up from Mediterranean Sea towards the western hills of the area. The orchard and the marsh are the most significant elements in the landscape. The climate is Mediterranean.  © Diego Opazo The surroundings, the program and the daily routine of its future inhabitants require the building of an inland landscape in the house. Even so the building fits perfectly with the environment and try to optimize its possibilities, the domestic space is distributed around a patio, "channel of sky", that is a very useful tool for this climate.  Section  © Diego Opazo  Section This elevated patio leaves below a floor intended for parking, storage and facilities. The access to the house leads us directly to the bedrooms place (some of them on one side, others on the other side) and by changing the stair layout, which is directly related to the patio, we can perceive the house… As opening a door and entering outdoors.  © Diego Opazo The change of stair layout makes easier the issue of thermal insulation and organizes rationally the circular distribution. It also allows us to perceive its spaces at the appropriate scale. This way we go up to the second floor intended for the living room, the dining room, the kitchen and a study-room library that occupies the space under the sloping roof covering the living room, enabled by the urban legislation.  Floor Plans From the patio to the terrace, arriving at the library balcony, the house is linked to the air fresh and look for the air circulation. All constructive decisions and the sophisticated taste depend on both pragmatic realities (related to the possible technologies and budget) and on the desire to build a peaceful, bright and comfortable atmosphere in this dream interior landscape.  © Diego Opazo  This posting includes an audio/video/photo media file: Download Now |
| Residence Zeta / PERUZZO Architettura Posted: 31 Dec 2017 07:00 PM PST  © Marco Zanta
 © Marco Zanta Text description provided by the architects. This project is located in a lot outside the edge of Treviso city center, in place of a crumbling and obsolete residential building with three units. The building is surrounded by many properties of low and medium housing density.  © Marco Zanta Starting point of the project was the client desire of upgrading and redeveloping the area to obtain a great investment property. The demolition of existing structure was necessary to realize a building in line with current standards in terms of regulations and quality.  © Marco Zanta The available volume and norms of urban planning allowed an increase of volume that permitted to accommodate six residential units.  © Marco Zanta Architect's greater challenge was permitting an high living comfort to residents despite of the higher living density. In alignment with this approach, the doubling of building volume was developed together with the doubling of outside spaces, by reinterpreting the theme of residential collective housing.  1st Floor Plan To achieve this interpretation, each apartment has been designed with outside open spaces of high quality, creating "outside rooms" that amplify the perception of space, shading the boundary between interior and exterior that is typical of the collective housing.  © Marco Zanta The desired effect is having homes with a private open space, as for single or semi-detached properties, even if in an apartment building. The intervention aims to be a positive regeneration for the city and for the environment, by allowing a greater urban density and at the same saving soil occupation, increasing energy efficiency and ensuring urban quality.  © Marco Zanta  This posting includes an audio/video/photo media file: Download Now |
| Street Canvas II / TA architect Posted: 31 Dec 2017 06:00 PM PST  view. Image © Tung Yuh Kuan
 1F cafe. Image © Tung Yuh Kuan Text description provided by the architects. This case continues Street Canvas issues, looking for urban corner space, implanted different functions which are coffee shop, dancing classroom, and office area. .jpg?1513967495 "Dancing. Image © Tung Yuh Kuan") Dancing. Image © Tung Yuh Kuan Case is sited with several characteristics. To the east is the large open space. In the future, it may face the development of residential buildings, and the basic attributes should be changed again which means there will be more space between the roadside. The south is a transitional zone with a short turn in the corner and faces the existing entrances of the old community.  Night. Image © Tung Yuh Kuan We leave the large openings in the tranquil direction - combining the performance characteristics of the dance with the floating stages of gaze on the opposite road in the distance.It is a more highly visible open and a dynamic picture, especially in the evening and night (dancing time). .jpg?1513967653 "view. Image © Tung Yuh Kuan") view. Image © Tung Yuh Kuan We designed two light guide devices, through these movable devices will light into the space, the continuation of the design thought which is the use of flexible space on the third floor,the office area.  Section & Elevation The first floor entrance through a translucent glass wall divides the space into two. The left side is for the cafe and the right side is the control point for the dance classroom. The service desk is also set up. The left hand side cafe combines two side courtyards that indirect sunlight slowly introduce it into a special interior experience, more in contrast to the direct light on main facade.  1F glass wall. Image © Tung Yuh Kuan We set the metal frame on the top of the first floor to connect two areas. At the entrance to the service area of dance classroom on the right, we cut the opening of sight, and surrounded by a pool of water ,hoping to gradually smooth the mood of people involved. In addition, here is also a main point to free the hot airflow.  Plan Street Canvas II is a smaller project in the urban corner series, and we hope that through different openings, we can reach another passage on the urban environment and make new urban stories. .jpg?1513967679 "view. Image © Tung Yuh Kuan") view. Image © Tung Yuh Kuan  This posting includes an audio/video/photo media file: Download Now |
| Why an Accounting Method Will Change the Way You Work Posted: 31 Dec 2017 05:00 PM PST  A discipline like accounting might seem very different from the world of architecture. In architecture, creativity is revered, but in accounting, it usually entails fraud. Still, you can't work if your firm is failing, and accounting is vital to success. Beyond the upkeep of your business, though, there are other ways that accounting can affect your work in a meaningful way. The most notable method is what we call project accounting. It sounds simple enough, as i's essentially the practice of accounting on the basis of individual projects. In reality, though, it's so much more. If you do it correctly—and have the right tools—project accounting will transform your firm. You'll complete projects on schedule and within budget, you'll have more time for new ideas, and you'll experience the financial success it takes to win big clients and make your dreams a reality. Differences Between Project Accounting and Standard AccountingProject accounting is all about the details. While standard financial accounting is essential for the health of your business, project accounting helps drive the success of individual projects. Timeframes are a large difference between the two practices. Your firm may review your financials on a monthly or quarterly basis, but your projects may be over in less time than that. Consequently, you need to measure profits and losses, utilization, margins, earned value, and more on a much more frequent basis. In this way, project accounting allows you to monitor everything in real-time, instead of after the fact. This shorter timeframe allows you to have much more control over smaller decisions—which are often the ones with the biggest outcomes. Moreover, when your firm starts practicing project accounting, employees that are lower down on the organization chart will need to get involved in the decision-making process. Your project managers have to monitor everything since they're the ones on the ground. Even if your firm is too small to have a real hierarchical organization, everyone must be in the loop.  Benefits of Project AccountingThere's so much to say about the benefits of project accounting, and expect to hear more from us on this topic. For now, here's a short overview of the main reasons why you should think about adopting it in addition to your standard accounting procedures. 1. You'll get the insights you need to increase efficiency and profits. This is the guiding rationale behind project accounting, after all, and it's applicable to everyone from solo practitioners to large firms. Tracking data on the project level gives you the ability to pinpoint—and make the most of—sources of profit, while actively identifying problems before they ruin everything. For example, if you know you're eroding your margins when you're only 30 percent done with a project, you can immediately make changes to the way things are being done. There are so many more insights you can get, from who your highest-performing employees are to which types of projects your firm should focus on. In short, you'll finally have the data you need to both take note of minute changes and understand large trends. 2. You'll empower your staff. When your staff manages the day-to-day financials and key performance indicators for their projects, they become responsible for profitability. In essence, each project manager becomes the CEO of his or her project. Most employees are thrilled to have these reins in their hands and consider it a sign of trust. Moreover, with their performance (and incentives) more closely tied to project profits, you'll likely see an uptick in both. 3. You'll cultivate collaboration. Sometimes it's beneficial for one part of your team to just focus on the tasks at hand while letting managers worry about the bigger picture. However, it's also possible that siloing your information and people stay stuck in silos can be holding them back. If there are a greater visibility and information moves freely, you can increase performance on individual projects and get everyone to contribute to the larger strategy of your firm. More visibility doesn't have to entail chaos. Rather, everyone becomes invested. Lower level employees will understand why certain decisions are being made and what they can do to help. If, for example, everyone knows that a project will be a net loss but an important stepping stone for your firm's reputation and relationships, it's straightforward to get the whole team on board. Project accounting has amazing benefits, but it may also seem overwhelming. Involving more stakeholders and more data analysis doesn't sound simple, and if you're a member of a small firm, you might not think you have the bandwidth to undertake this. However, with the right project accounting software, it's surprisingly straightforward. BQE Core, for example, unifies all the disparate data you need like invoicing, time and expense entries, accounting, project management, and business intelligence. Your goal should be to equip yourself with the right tools, so you can spend your time growing your business.  This posting includes an audio/video/photo media file: Download Now |
| Baan Bangpakok / INchan atelier Posted: 31 Dec 2017 12:00 PM PST  © VARP STUDIO
 © VARP STUDIO Text description provided by the architects. This project started off with a very basic question for many Thai parents when their children grew older and felt ready to have their own family: "how a family can live comfortably together when it becomes expanding?".  © VARP STUDIO The site was originally packed with a 50-year old traditional Thai house structure that was handed down to the current owner from the grandparents 15 years ago. This old house had kept expanding over generations until it covered most of the land plot.  © VARP STUDIO After a number of discussions among all family members, the brief of this project was then divided into two parts: (1) tearing down one third of the existing traditional house and renovating it to suit new lifestyle functions for the parents, (2) erecting a new building to increase the area amount for the fact that everyone in the family can joyfully share and to accommodate the upcoming new families with a proper degree of privacy.  © VARP STUDIO However, the plot's conditions for the new house are quite peculiar. First of all, the plot is about 2 meters below the street level. Its shape is like a long tapered strip, which on the long side runs along a canal and on the short side is exposed to the street. But somehow with some technical problems the upper floors of the house has to set far back from the street side causing the footprint of the house to have less area to manage. Nonetheless, the architect has summed all conditions and turned them into clear design strategies: (1) The house is divided to have a base and a form on top in order to suggest a visual exposure to the street due to a big visual difference between the street view and the land plot view. (2) The base should be exploited as an elevated ground in order to increase the usable area, whereas the upper form has to be composed as a combination of small forms, so it will not appear too dominating to the surroundings. And (3) the vertical circulation of the house has to be the spiral stairs in order to safe space and performs as a sculptural piece at the center of the house.  © VARP STUDIO  Ground Floor Plan  © VARP STUDIO  1st Floor Plan In the functional respect, the house is arranged by floor as follows. The first floor is set to have a guest bedroom and a big connecting space for several shared facilities, a living area and a dining area, directly connected to a kitchen, a multi-purpose terrace, and the front pocket garden. The second floor is somehow intended to perform as a new ground for the new families where they can enjoy the garden from the top view. It is arranged to have the stair hall as a pantry, which can serve the outdoor terrace. And it has an accommodation unit for one family. It comprises a big bedroom, a walk-in closet, and an en-suite bathroom. And lastly, the third floor is a repeat of the second floor for the accommodation unit for another family, except it has an extra private living room.  © VARP STUDIO  This posting includes an audio/video/photo media file: Download Now |
| Posted: 31 Dec 2017 08:00 AM PST  © Gidon Levin
 © Gidon Levin Text description provided by the architects. RUST Architects in collaboration with Greentectura designed the Iron Source new head office in Sarona Tower in central Tel Aviv. The four floors, with a total area of 10,000 square meters, accommodate hundreds of employees in various departments.  © Gidon Levin Offices of various sizes have been positioned around the exterior of the space while public functions form around the core of the building which at points "invade and cling" to the façade to bring direct natural light to them and break the sequence of the offices.  © Gidon Levin The architects designed classic work stations, adapted to the employee needs. The modular station allows flexibility in terms of the number of employees in the office as part of the many changes that the teams routinely undergo in the company.  Floor Plan Adjacent to the core and the inner part of each floor, many public functions have been dispersed, the purpose of which is to create a work/life balance while providing space for informal collaboration while not detracting from the routine of the company's employees.  © Gidon Levin In order to overcome the large spaces, the architects decided to create a programmatic system, so that each floor has 4 main cores according to the location of the teams and the convenience. Each core has a kitchen, a large conference room and a number of meeting rooms & areas of different sizes.  © Gidon Levin In order to maximize different types of social interactions, large kitchens have been designed as bar like settings, work areas as lounges or high-standing counters and small spaces for intimate meetings.  © Gidon Levin On the entry level there is a large auditorium and lounges adjacent to the main kitchen. All the elements can be moved, and the area becomes a gathering place for all employees of the company which is connected directly with the large terrace.  © Gidon Levin On the other floors there are small auditoriums, music room and activity rooms, data centers that contain information about the company's events.  Diagram Iron Source's graphic studio created, along with the architects, a common language adapted to the company's branding, signs and graphics that create a unique structure for simple orientation. Tel Aviv illustrators painted on walls and tin surfaces, all as part of building the identity of the Tel Aviv company.  © Gidon Levin The use of different materials; natural stone tiles, carpets of different shades, ceramic tiles and natural wood paneling eables the division of functions creating a feeling of open areas while maintaining a pleasant and familiar atmosphere.  © Gidon Levin Lighting designer Orly Alkabes designed with the architects a lighting system that holds a circular light fixture that gently illuminates the movement in the open spaces and walkways. The rest of the lighting creates an intimate and comfortable feeling. All of the custom joinery and framework were designed by RUST Architects.  This posting includes an audio/video/photo media file: Download Now |
| Venice Isn't Sinking, It's Flooding – And It Needs to Learn How to Swim Posted: 31 Dec 2017 06:00 AM PST  Acqua Alta in Piazza San Marco (2016). Image © James Taylor-Foster "Will you look at that? St. Mark's Square is flooded!" An Australian day tripper is astonished. "This place is actually sinking," her friend casually exclaims. They, like so many I've overheard on the vaporetti, are convinced that the Venetian islands exist on a precipice between the fragility of their current condition and nothing short of imminent submersion. With catastrophe always around the corner a short break in Venice is more of an extreme adventure trip than a European city-break. If it were true, that is. Venice is not sinking – it's flooding. Since time immemorial the city has periodically flooded as a result of tidal patterns and residents are well-accustomed to its wintertime rhythm (and, less frequently, during the summer season). While acqua alta (high water) is a fascination for intermittent visitors it is an accepted inconvenience for those who live with it: ground floor doors have to be sealed with barriers, boots and dungarees have to be fished out of the cupboard and, if the water is particularly high, boats might be unable to pass beneath the smaller of the city's hundreds of bridges until the water eventually subsides. Walkways are erected throughout the city's lowest areas (Piazza San Marco is, incidentally, particularly low terrain) and people continue to see to their daily business – only in a more elevated fashion. I once joined friends for dinner during a freak summer sirocco wind-induced acqua alta on the Fondamenta Ormesini – we sat outside, legs submerged, thinking little of the otherwise extreme conditions that the evening had proffered. Venice has always had an unusually intimate connection to the water which surrounds it. Its first settlers were refugees, fleeing to the marshlands where the city now stands in order to escape the genocidal tendencies of Germanic tribes and the Huns. The first structures they erected on the rivoalto (a small constellation of high islands where the Rialto and its Palladian bridge is now positioned) were built atop wooden piles – a unique process of petrifying sunken columns in the silt of the swamp that is still in use today, both as a method of preservation and when building anew. Even as the city expanded into La Serenissima—the serene Venetian Republic, one of the most powerful thalassocracies that the world has ever seen—it was consistently reminded of its delicate, defensive and highly lucrative relationship with the lagoon and the oceans beyond. The ancient and mystical annual Marriage of the Sea, established in AD 1000, saw the Doge (the elected ruler of the Republic) hurl a consecrated ring into the murky waters and declare the city and sea to be indissolubly one. This liturgy, one can surmise, was a way of throwing caution to the wind and praying that prosperity would continue amid comparatively ungovernable natural conditions. _002_(1).jpg?1483398331 "Canaletto's 'Il ritorno del Bucintoro nel Molo il giorno dell'Ascensione' (1730) Public Domain") Canaletto's 'Il ritorno del Bucintoro nel Molo il giorno dell'Ascensione' (1730) Public Domain Astonishingly, a version of this nuptial ceremony to the ocean also continues to this day. Over recent centuries, and especially since the 1970s, Venice's economy has become almost entirely reliant on tourism; its unsurpassed naval might has been superseded by clumsy and unsettlingly large cruise liners and large swatches of San Marco, Cannaregio, and the Dorsoduro are now hotels, hostels and holiday houses. Many Venetians have either been driven away by lack of employment or have left of their own accord. Contessa Jane da Mosto, an environmental scientist who has lived in the city since 1995, is one who has actively made the lagoon her home. She married a Venetian—Conte Francesco da Mosto, himself an architect and author—and have together raised four children in the city against the backdrop of a domestic exodus. When asked about the history of Venice and the water, Da Mosto points to a particular contemporary event that changed the future of the city: the flood of November 4th, 1966. Reaching 194cm (6'4), this was wholly unprecedented in the history of acqua alte. Heavy rain, a severe sirocco wind, crumbling infrastructure and entirely unready population isolated the city for twenty-four hours without repent. The flood revealed for the first time to what extent the built fabric of Venice had deteriorated – in the words of British art historian John Pope-Hennessy, "the havoc wrought by generations of neglect." "Venice lives thanks to big disasters such as this," Da Mosto argues. "They have caused [the city] to fundamentally change direction." At the point in time in which the 1966 flood occurred more and more of the lagoon was being absorbed by the expansion of the Marghera industrial zone. "The national and international attention that followed this event changed the emphasis to safeguarding the heritage of the city." As part of what became known as the International Safeguarding Campaign, investment flowed into Venice from around the world and its decaying skeleton began to breathe new life.  Acqua Alta in Piazza San Marco in 2015. Image Courtesy of MOSE In November last year, fifty years on from the flood, We Are Here Venice—an organisation founded by Da Mosto to raise awareness of the problems that the city faces in the 21st Century—inscribed a simple blue line around shop windows and doorways of Piazza San Marco. L'Acqua e la Piazza (The Water and the Square) graphically indicates just how high the water rose that day. "A strong storm surge meant that the water didn't leave the lagoon when the tide turned and, combined with a sort of oscillation in the Upper Adriatic (just like when you're in the bath and the water rocks back and forth), extra water was pushed into the lagoon." As the water was expelled and 'hit' the opposite coastline of the Adriatic, it simply returned and washed back into Venice a few hours later. This back and forth motion, Da Mosto explains, can occur for days on end until the water eventually dissipates down into the Mediterranean Sea. Following the disaster, which also caused considerable damage in other Italian cities, repairs and restorations were carried out to ageing monuments. In the 1980s, MOSE (named in an homage to Moses, the Biblical figure who was said to have parted the Red Sea) was commissioned: four vast retractable gates at the inlets of the Lido, Malamocco and Chioggia which, when operational later this year, will be able to seal the entire lagoon from high tides in fifteen minutes flat. The project, akin to the Thames Barrier in London or the Maeslant Barrier in Holland, has been mired in a corruption scandal (€5,493,000,000 has been spent on the project to date) and is by no means a perfect solution. "Even when the mobile barriers start operating," Da Mosto iterates, "Piazza San Marco will still be flooded many times a year. […] It's absurd to think that mobile barriers alone can save Venice. They are just one of the many measures that are needed in the lagoon."  Lido Inlet of the MOSE Project. Image Courtesy of MOSE  Chioggia Inlet of the MOSE Project. Image Courtesy of MOSE  Malamocco Inlet of the MOSE Project. Image Courtesy of MOSE "The last thirty years," she explains, "have been heavily conditioned by strong lobbies that permeated every crack and corner of the cultural, scientific and economic life of Venice. They have all been associated with this huge flow of investment through the 1973 Special Law for Venice 1973 [which aims to "guarantee the protection of the landscape, historical, archaeological and artistic heritage of the city of Venice and its lagoon by ensuring its socio-economic livelihood"] that was directed at building the mobile barriers. But, as the scandal has revealed, over one billion Euros can not be traced. On top of that, the money spent on the actual works has been shown to have been spent at inflated prices. So not only did a huge amount of money disappear, but they simply spent more than they should have."  Construction of the MOSE Project. Image Courtesy of MOSE  Construction of the MOSE Project. Image Courtesy of MOSE For a city which has always heavily relied on an economy driven by foreign trade or investment, plans on the scale of the MOSE project are nothing new. Venice has always made courageous decisions to maintain accessibility between the sea and the city. "When the lagoon first started to silt and navigation became difficult, the city diverted whole rivers further south or further north of the lagoon so that less sediment came in so they could keep the channels deep for the galleons," Da Mosto clarifies. "Subsequently, during Austrian occupation at the end of the 19th Century, the entire coastline of the barrier islands to Venice were reinforced and proper inlets were built to ensure that access to the lagoon was deep and wide." Unfortunately, as a consequence of that and many other similar moves, Venice is at risk of no longer being part of a lagoon system at all; as channels are dredged ever deeper to accommodate the likes of MS Queen Victoria (a 90,049 gross ton pleasure-cruiser operated by Cunard) in port, it is being transformed into less of a lagoon and more into a bay of the sea – and that, according to Da Mosto, "has very important implications for the integrity of the city as well as its biodiversity and ecological functions [see 'Criterion (v)' at the foot of this article]." There can be no doubt that Venice lives thanks to the regular exchange between the lagoon and the sea and, while there is still inherent resilience in the system, much has been neglected over the preceding decades. "We're beyond the times when some ministry for infrastructure and public works can just come and do what they want to do, or what business interests make them do," Da Mosto argues. "The whole city needs to wake up." Find out more about the activities of We Are Here Venice, here.  Acqua Alta in Piazza San Marco. Image Courtesy of We Are Here Venice. Image © Anna Zemella Venice's Inscription as a World Heritage Site (1987)Venice and its lagoon were inscribed as a World Heritage Site in 1987. According to the citation, they "form an inseparable whole of which the city of Venice is the pulsating historic heart and a unique artistic achievement. The influence of Venice on the development of architecture and monumental arts has been considerable." The inscription was based on the following six criteria (you can read the full document in multiple languages, here):
 Acqua Alta in Piazza San Marco. Image Courtesy of We Are Here Venice. Image © Anna Zemella  This posting includes an audio/video/photo media file: Download Now |
| The Lichen House / Schwartz and Architecture Posted: 31 Dec 2017 05:00 AM PST  © Richard Barnes
 © Richard Barnes The precise relationship between lichen and its host provides inspiration for an architecture specifically tailored to its site ‐‐ both as a response to it and as an augmentation of its best attributes. The Lichen House works in concert with nature's mechanisms, not to mimic them blindly, but to expand our understanding and experience of them through architecture.  © Richard Barnes The Lichen House nestles within the fog and oaks in the hills above California's Sonoma Valley. The free‐ranging branches of the site's mature live and coastal oak trees support veils of draping Ramalina Lichen that filter sunlight, capture moisture and nutrients for their hosts, and remove pollutants from the air through photosynthesis. A hypersensitive organism, Lichen retreats or dies in adverse or contaminated environments but quickly expands its net with conditions advantageous for growth. It is a bellwether for the environmental health of this unique microclimate.  © Richard Barnes Beginning with its strategic solar orientation and geometry, the Lichen House owes its form to passive thermal tactics ‐ the maximization of daylight and expansive southern views protected by a deep overhanging shade trellis. The undulating metal fin trellis is both a formal reference to the surrounding lichen's geometry as well as a spatial reference by recreating the filtered dappled light of the lace lichen's net. It filters the high summer sun and allows solar heat gain in the winter when the sun is low in the sky.  Floor plan Integral to the concept and design of the Lichen House is a porous and breathable building envelope accepting, filtering, and processing external conditions much like the lichen that inspires the design. A south‐facing unconditioned hallway space with a series of operable windows along the private wing of the home serves as an interstitial buffer. This zone protects the sleeping quarters from direct southern exposure, dampening heat loss and heat gain while promoting natural airflow ‐ effectively minimizing the conditioned floor area and required heating/cooling loads of the house.  © Richard Barnes The home's wings extend toward long expansive views to the south and west with the freedom to precisely dial in orientation to focal points in the landscape. Each room is then carefully tuned to its own spatial "microclimate" considering, privacy, views, solar orientation, quality of light, and air flow. A series of gardens and open spaces work in concert with each zone of the house interior.  © Richard Barnes  This posting includes an audio/video/photo media file: Download Now |
| 10 Stylish Images of Cars and Architecture: The Best Photos of the Week Posted: 31 Dec 2017 04:00 AM PST  © Fernando Guerra | FG+SG The inclusion of cars in photographs of architecture is an interesting tool that can help the viewer to understand the scale of a building. The addition of an automobile to a scene can not only help to transmit a notion of the size of the photographed elements, it can also be used to generate interesting compositional relationships to benefit the photograph as a whole. Below, we've highlighted a selection of 10 images from prominent photographers such as Rafael Gamo, Michael Sinclair and Bruno Candiotto which make effective use of this technique. Bruno CandiottoWorkshop House / PAX.ARQ © Bruno Candiotto Michael SinclairSilver House / Hyde + Hyde Architects © Michael Sinclair Fernando Guerra | FG+SGCasa Cabo de Vila / spaceworkers © Fernando Guerra | FG+SG Rafael GamoHouse AA315 / BERNARDI + PESCHARD & BLANCASMORAN © Rafael Gamo Darren BradleyAvocado Acres House / Surfside Projects + Lloyd Russell © Darren Bradley Martin GardnerThe Quest / Strom Architects © Martin Gardner Stephen GoodenoughUrban Cottage / CoLab Architecture © Stephen Goodenough Michael SinclairSilver House / Hyde + Hyde Architects © Michael Sinclair Ketsiree WongwanFlower Cage House / Anonym © Ketsiree Wongwan Fernando Guerra | FG+SGHouse in Alcalar / Vitor Vilhena Arquitectura © Fernando Guerra | FG+SG  This posting includes an audio/video/photo media file: Download Now |
| Booom City / Vilaplana&Vilaplana estudio Posted: 31 Dec 2017 01:00 AM PST  © Miguel Ángel Cabrera
 © Miguel Ángel Cabrera Booom City is a playful technological installation combining the Mediterranean popular stakes [Hogueras](ephemeral urban monument burned in the summer equinox night) built with traditional construction techniques with the use of new technologies to offer an expanded experience of the city through the use of an Augmented Reality App and the Smartphone. The installation reconstructs fragments of disappeared cinemas, spas, and ballrooms to be enjoyed again by the citizens, who can rediscover and interact with those places in a virtual way.  Concept App Interior Summer boooms  © Miguel Ángel Cabrera Booom city rebuilds those structures without looking for nostalgia; it is designed for interactive and contemporary fun. The installation is located next to the Teatro Principal of Alicante and takes the form of the backstage of a theatre. Each of the five wooden panels shaping the structure compiles, catalogued by themes, an anthology of the urban constructions living up summer nights during the last century. As a result, the stake takes the form of a condensed skyline, shifting from a mere sculpture to a walkthrough interactive urban landscape, half physical-half virtual. It does not have the typical "ninots" (human-like sculptures) that use to inhabit this kind of constructions because the visitors running through the monument play their role.  Elevations  © Miguel Ángel Cabrera An augmented reality attraction  © Miguel Ángel Cabrera  App in use  © Miguel Ángel Cabrera  Model An ecological scene  Courtesy of V&V  This posting includes an audio/video/photo media file: Download Now |
| The Best Music Videos for Architecture Fans in 2017 Posted: 31 Dec 2017 12:00 AM PST  The old adage "writing about music is like dancing about architecture" (it's stupid etc.), loses some of its impact when architecture becomes the backdrop for both music, and dancing. Ever since video killed the radio star, famous houses, quirky spaces, and history's great buildings have provided beautiful, unique and dramatic settings for music videos of all types. So which of 2017s music videos have capitalized on the wonderful world of architecture? Thespaces.com have compiled a list of the best music videos for architecture lovers for 2017. Here are a few of our favorites and a few additional videos we think deserve a mention. The Weeknd – 'Secrets'Raymond Moriyama's Toronto Reference Library is beautifully presented in this video of The Weeknd's synth-pop hit. The incredible atrium space, the cylindrical elevators and the striking contrasts set up between red and white, hard and soft, and curved and rectilinear support the plot of the video but fundamentally steal the show. The XX – 'I Dare You'Frank Lloyd Wright's Sowden House is the monolithic masterpiece and school-ditcher's getaway in The XX's "I Dare You." The dramatic house, set between shots that seem to encompass contemporary Los Angeles, is the perfect setting for teenage drama and aloof band members playing poolside. Regina Spektor – 'Black and White'Regina Spektor brings to life 1920's Uptown Theatre in Chicago, closed since 1981. Designed by Rapp and Rapp the theatre's haunting and exquisite interior provides an ideal backdrop for Spektor's similarly haunting song. St Vincent – 'Pills'Surreal sets and doll-like dancers are juxtaposed alongside Superstudio-style video collages, making this one for the architectural collage fan. Tierra Whack – 'Mumbo Jumbo'With its stark red and white settings, Bauhaus inspired furniture, and symmetrical framing, Tierra Whack's video is one for the minimalists, gradually descending into madness and then from the heavily controlled interior to the chaos of the outside world. Chelsea Jade – 'Life of the Party'In an austere warehouse setting Chelsea Jade explores the potential of the beautifully simple, plywood-clad, timber frame wall. The walls become a key driver of the movement of the dancers, sometimes boxing them in, sometimes framing their limbs, sometimes carrying them across the concrete floor. Leonard Cohen – 'Leaving the Table'Released after Leonard Cohen had, tragically, left the table, this beautiful video sees a paper cut out of Cohen drift through collaged cities, putting a focus on small things, balconies, statues rising out of the greenery, signs in shop windows. There's a kind of surreal voyeurism in the Google Earth and satellite imagery of city buildings, and in watching collage-Cohen at a typewriter through a bay window. Kesha – 'Praying'A song about empowerment, Kesha's "Praying," while not traditionally architectural, features a few must-visit spots for any architect or artist in the California Desert. Slab city - an off-the-grid "snowbird" camp of permanent and temporary residents, Salvation Mountain - a strange and wonderful painted hill, and East Jesus - a sculpture park by the residents of Slab City, constructed mostly out of recycled materials found in the desert, are all fascinating examples of desert occupation and production. OK Go – 'Obsession'And finally, OK Go's latest video masterpiece might speak to (or help provide some relief) to the architect's tense relationship with the printer - a wholly necessary tool and a constant source of frustration. The spatial conditions generated by the careful curation of 567 printers are truly remarkable. Printer facades anyone? News via: The Spaces.  This posting includes an audio/video/photo media file: Download Now |
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