Arch Daily |
- BLU / dEMM arquitectura
- BAA6 / 109 Architectes
- Deck House / FRARI - architecture network
- Dongrun Apartment Building / Praxis d’Architecture
- Gwacheon Residence / Kim Seunghoy (Seoul National University) + KYWC Architects
- Gold 800 Experience Centre / SPACEMEN
- Premier Flat / Cité Arquitetura
- Pause / DBR | Design Build Research
- Why the AIA is NOT Awarding Anyone the Twenty-Five Year Award in 2018
- Atelier Ventura Trindade / Ventura Trindade
- Stefano Boeri Architetti's Vertical Forest is the Very First to be Used in Social Housing
- Cima House / GARZA IGA Arquitectos
- How Drones Can Be Used in Architecture (And How To Use Them Without Breaking the Law)
- El Tranque Cultural Center / BiS Arquitectos
- Will Automation Affect Architects?
- The Best Architecture Portfolio Designs
| Posted: 10 Jan 2018 09:00 PM PST  © João Morgado Photography
 © João Morgado Photography Text description provided by the architects. Rehabilitation of a Housing and Commerce building, built in the 19th century for the Insurance Company Ultramarina, transforming it into a Hotel. Located in the historic area of Porto, classified as Cultural Heritage of Humanity by Unesco.  © João Morgado Photography The project had respect for all the heritage elements that define and characterize the building, and where when possible used and enhanced, such as the main façade and some interior wood work. It improved thermal, acoustic and accessibility comfort by introducing new window frames, new insulation and a new staircase that replaces the two previously existing ones, articulating the vertical communications in a single point in the center of the building and adding an elevator. It was not, however, inseparable from the adaptation to the new Hotel program, there was a complete overhaul of the interior divisions and a clear intention to mark the time of its intervention.  © João Morgado Photography  Planta - 1º Pavimento  © João Morgado Photography The blue color that derives from the "BLU" philosophy applied to the whole building, was used in the interior and exterior through painting and micro-cement, being only punctuated by the wood of the pavements, some reutilized from the original construction and some new elements in black.  © João Morgado Photography  This posting includes an audio/video/photo media file: Download Now |
| Posted: 10 Jan 2018 07:00 PM PST  © Ieva Saudargaité
 © Ieva Saudargaité Text description provided by the architects. When four brothers with four distinct personalities wanted to construct an upscale residential building in a wooded Beirut suburb, 109 Architectes played on the concept of a harmonious quartet.  © Ieva Saudargaité Four blocks anchor the project to the plot, a hill blanketed in pine and oak trees. Together, the blocks form four stories that interact with the environment, demonstrating the green approach that saturates the building from design to material.  Cross Section A distinct function is assigned to each box: the sleeping area; the guest room or office; the service area; and the reception area. Three are constructed as solid boxes with stone cladding. With exposure to the elements, the stone will naturally fade into the environment over time. Full-height windows allow of flood of natural light and panoramic views. On each floor, they are positioned to maximize an exclusive vista of trees and topography lines.  © Ieva Saudargaité In contrast, the reception block materializes as a series of stacked white slabs framing the scenery. It establishes a direct dialog with the surrounding trees, sliced on one side to accommodate an existing trunk, or reaching out to a centuries-old branch. A book-lined corridor acts as a boulevard connecting the blocks, and a family room is the heart of each house. On each floor it overlooks the front and back of the forest, creating an uninterrupted network of inhabitants, branches, and birds. The layout maximizes cross ventilation, allowing nature's elements to interact with the building.  © Ieva Saudargaité Creating an exceptional experience for each brother was essential to the project. The architects considered an individual home's relationship with the trees to create its distinct character. The ground floor is washed in soft sunlight, set within the tree trunks and beneath the canopy. The first floor hovers among branches, and the second floor floats just above the treetops, giving the illusion that one could reach out and touch them. Perched high above the woodland, the third floor looks out onto the horizon.  © Ieva Saudargaité  This posting includes an audio/video/photo media file: Download Now |
| Deck House / FRARI - architecture network Posted: 10 Jan 2018 06:00 PM PST  © ITS – Ivo Tavares Studio
 © ITS – Ivo Tavares Studio Text description provided by the architects. The challenge of this project was the expansion of a single-family house, with five years of existence. The house had weaknesses in its spatial organization, with missing space in some areas and wasted space in another ones. Besides, the house had no relation with green surroundings, it was needed a study that could restore the relationship between the inner and outer space.  © ITS – Ivo Tavares Studio The unification of the two initial plots, with a total of about 1300 m2, allowed a new configuration of the volume, that was extended horizontally, reinforcing the connection with the outside environment.  Diagram The design of the set is simple, and abstract, to reintegrate the two parts into one. For this reason the facades were partially covered with composite panels, creating a skin that unifies the architectural piece. The old and the new come together!  © ITS – Ivo Tavares Studio The vertical patio that limits the entry moment makes the connection between the existent construction, and new construction, leaving that part as an open area. After this transition moment, the space is open, clean, and confortable, being able to support the amount of people often invited to the house.  Ground Floor Plan The living room is, in both sides, limited by glass walls, that provides total sunlight from the south side and, at the same time, direct access and views for the backyard, with the swimming pool, barbecue area, children's playground, deck area and the gardens.  © ITS – Ivo Tavares Studio At the first floor it was added a new master bedroom, with an open toilet that connects with the bedroom, and with the patio, in a romantic atmosphere. The terrace is a private space that guarantees relaxed moments, after living in this house of busy lives.  © ITS – Ivo Tavares Studio  This posting includes an audio/video/photo media file: Download Now |
| Dongrun Apartment Building / Praxis d’Architecture Posted: 10 Jan 2018 02:00 PM PST  © Zhou Ruogu, Jin Fengzhe
 © Zhou Ruogu, Jin Fengzhe Text description provided by the architects. Songzhuang has received a continuous influx of young artists and art-related industries in past few years. The local courtyard homes are now largely leased to outsiders and are in high demand. The small and medium-sized apartments, office buildings, galleries, and small businesses have developed naturally to satisfy local demand. In contrast to government-backed integrated development projects, Song Zhuang's new construction projects are often funded and managed by multiple private parties. Dongrun Apartments is one such collective endeavor.  Site Plan The apartments are situated on the northeast corner of the roundabout alongside Songzhuang's main thoroughfare. The building extends 110 meters from East to West, and is 20 meters deep from North to South (entrance to rear). The ground floor is comprised of galleries and businesses. Apartments are located above and account for approximately two thirds of the building's total floor area.  © Zhou Ruogu, Jin Fengzhe A facade module was created based on dimensions of a typical apartment unit. This module has been repeated with in incremental increase on each subsequent floor so as to create a pattern that leaves the viewer a sense of movement. The vertical division between the volumes of overhanging and the inverse-steps serves to clearly demarcate the boundaries between the building's offices and two apartment sections. Consequently, the building massing contains four sections: a ground floor and three high rise sections, whose division speaks to their differing contents.  © Zhou Ruogu, Jin Fengzhe The apartments are primarily small and medium-sized. A basic apartment is 4.5 meters wide, and depth ranges from 9.7 to 16 meters. Small to mid-sized apartment ranges from 50 to 75 square meters per apartment. Larger apartments in the range of 90 square meters and above are located along the building's easternmost facade. The building's office section has an approximate average area of 800 square meters per floor, and features a central, vertical transportation nexus. The standard width of an individual office is twice that of a standard apartment.  Diagram The structure of framed shear wall and the side-by-side arrangement of its apartments open the building to remodeling and versatile use. Residents may select one or more collocated standard living or working units according to their needs, and are free to create a wide-open space by removing the partitions between units, which do not bear any structural weight. The largest structural overhang protrudes 3.6 meters in accordance with the economic demands .  © Zhou Ruogu, Jin Fengzhe The building's east and west walls as well as the bands between floors on its south side are paneled with white aluminum. The façade of the south wall also features a dark band composed of two separate materials and extending 90 centimeters above each floor level. Its perforated metal panel serves to cover the exterior air conditioning unit, and its similarly-patterned printed glass visually obscures the required 90 cm indoor guardrail. The alternating dark and light-colored bands are broken at the division between each of the building's three vertical sections, which further emphasizes each segment's independence.  Section  This posting includes an audio/video/photo media file: Download Now |
| Gwacheon Residence / Kim Seunghoy (Seoul National University) + KYWC Architects Posted: 10 Jan 2018 12:00 PM PST  © Kim Jaekyung
 © Kim Jaekyung Text description provided by the architects. The Gwacheon residence required a fundamentally different attitude and concepts in terms of constructing the house. The house comprises of various motifs, including environmentally friendly features, a direct symbiosis of modern life and nature, ways to generate the house fully becoming the aesthetics of the house, with the light and simple logic of tectonics and, yet everything encapsulates the principles of "simplicity".  © Kim Jaekyung The house mainly faces southwest, along with the coordinates of the land. Natural heating and cooling are achieved through the double skin, which is a kind of passive solar energy technique, so the house becomes like a greenhouse in the winter and breezes are funnelled upward during the summer. Even though the walls offer sufficient insulation, the windows facilitate a cross ventilation system. As the roof looks towards the south, solar-cells are installed on the sloped roof to generate the energy. The size and inclination of the roof were adjusted to the altitude and gradient of the sun. The sloped roof is segmented into several sections and is the result of "aesthetic intentions" and "engineering needs".  © Kim Jaekyung A skylight was installed on the upper side of the living room, thereby allowing bright sunlight to penetrate the deepest recesses of and to invite the sky into the house, thereby presenting the experience of the sun, the moon and stars from inside. My intention for the house was to give it the most lightweight structure that was possible by using a minimal amount of steel frame materials, reducing the thickness of the walls to a minimum, producing less waste material when the house gets eventually demolished, and making use of recyclable components. The composition of the house is also simple. Facility cores are situated behind the stairway, thus enabling efficient conducting of movement of the facility line. This means that most of the areas in the house can be repositioned and restructured liberally.  System Diagram The space connecting the living room, the master bedroom and the dining room converge into a large space, allowing space partitioning to be easily adjusted in the future. While designing the Gwacheon residence, I sought not only to satisfy environmental objectives. This was incorporated into the system of design and tectonics through a composition of wooden walls, the deployment of windows, and details from the side windows. In all of these new attempts, including abundant spatiality created by difference in angles of the grid system of walls and the sloped side of the roof, mew materiality created by thin walls, economic components and simple details, what is essentially important in the end, is the fact that I tried to stay true to my principles, not endeavoring to make the house merely beautiful.  © Kim Jaekyung  This posting includes an audio/video/photo media file: Download Now |
| Gold 800 Experience Centre / SPACEMEN Posted: 10 Jan 2018 11:00 AM PST  © Min Chen Xuan
 © Min Chen Xuan Text description provided by the architects. SPACEMEN were commissioned to design an experiential centre for a first-of-its-kind premium lifestyle consultant and its ultra exclusive members-only club lounge. Due to the high profile of the clubs' clientele an emphasis on discripency was of high importance.  Material_Isometric Just like the smooth stroke of a calligraphy brush in motion, the entire flow of the space was designed so that clients can be swiftly guided upon arrival into their designated appointment areas and rooms. Transitioning between space to space will feel effortless and seamless.  © Min Chen Xuan A rich palette of brass metal strips and white volakas marble line the entrance foyer and stretch the entire corridor to the members only lounge area.  © Min Chen Xuan 'Where culture embraces the future', was the approach we adopted to showcase the brands vast portfolio of luxury services and and endless number of limited edition products available to their members. Transparent touch screens, surround sound systems and HD projectors for the experiential rooms for consultants to give presentations and touch-operated interactive countertop for the product zone enhance members shopping experience.  Layout_Plan_Gold Members entering the premise from the VIP lift entrance will be greeted with a lavish transparent bamboo screen that allows sunlight to penetrate and brighten the lobby and lounge throughout the day.  © Min Chen Xuan  This posting includes an audio/video/photo media file: Download Now |
| Premier Flat / Cité Arquitetura Posted: 10 Jan 2018 09:00 AM PST  © Alessandro Giraldi
 © Alessandro Giraldi Text description provided by the architects. Important industrial hub located in a strategic setting and future Intermodal Railway Center of Rio de Janeiro, Queimados is a rapidly developing city. Like many untapped areas of the Metropolitan Region, it now has a demand for larger and better-quality enterprises. The arrival of a hotel development of the size of Premier Flat is fundamental to anchor the growth that the city is experiencing.  Site Plan After going through some hotel typologies and required morphological elements – services and common areas in the lower part of the building and rooms located within the tower, on the upper floors – the strategy was to avoid fragmentation of these two volumes, taking into consideration the challenge of creating a unique image for the whole complex.  © Alessandro Giraldi The final project houses a lobby, restaurant, SPA and Business Center in the lower level and 156 rooms in total, combining the elements through a unique materials’ choice. The scale of compositional elements, such as frames, vertical profiles and marquees, is also fundamental for achieving the desired effect. The proposed solution determines a new scale for the windows of the rooms, creating vertical groups with three stories high each and establishing, in this way, the direct dialogue with the brise-soleils of the lower windows.  Section  © Alessandro Giraldi Premier Flat arrives in Queimados as a visual landmark in the landscape and also as a new building standard for the area, acting as a starting point for future endeavors aimed at qualifying the city.  © Alessandro Giraldi  This posting includes an audio/video/photo media file: Download Now |
| Pause / DBR | Design Build Research Posted: 10 Jan 2018 07:00 AM PST  © Ema Peter
 © Ema Peter Text description provided by the architects. PAUSE is a pavilion designed as a temporary installation for the TED2017 conference. The unique design was the result of an international competition organized by the non-profit school DBR | DESIGN BUILD RESEARCH, challenging designers to create an outdoor space to reflect, gather, and interact.  © Ema Peter PAUSE began as an international design competition to create a pavilion that questions the concept of personal space and interaction. After receiving over 60 submissions represented by 21 different countries, our jury selected Alsu Sadrieva's submission as the overall winner. A student of the TIArch Studio at the Kazan State University of Architecture and Engineering in Russia, Sadrieva was in Vancouver for the final construction stages of the pavilion and attended the TED2017 conference as a part of her prize.  © Ema Peter The PAUSE pavilion was pre-fabricated using Cross Laminated Timber (CLT) panels donated by Structurlam. The roof panels of the structure were assembled from dimensional lumber donated by Interfor and weatherproofed with shrink wrap. The approximately 150 stools that hang from the walls of the structure were cut from Birch plywood with CNC technology and cushioned with either preserved moss, or donated wool felt from Filzfelt.  © Ema Peter The pavilion represents the thorny, challenging problems of the world today. Chairs adorn the walls of the structure, giving it a jarring appearance. The exterior can only be smoothed by the removal of a chair – in effect solving a problem through gathering and dialogue.  Structure Axonometric  © Ema Peter  Wall module axonometric After the TED2017 conference, the pavilion will continue to serve as a gathering place through event installations throughout the Vancouver area. At each installation, the pavilion will create a space that lets its users take a pause, to reflect personally and in the same breath, share that experience with others.  © Ema Peter  This posting includes an audio/video/photo media file: Download Now |
| Why the AIA is NOT Awarding Anyone the Twenty-Five Year Award in 2018 Posted: 10 Jan 2018 06:00 AM PST  © Koji Horiuchi. Courtesy of AIA We are starting the new year with an announcement from the American Institute of Architects that there will be no winner for their Twenty-five Year Award in 2018. This will be the first time this has occurred since the award was officially established in 1971. The AIA award recognises buildings that have "stood the test of time for 25-35 years and continues to set the standards of excellence for its architectural design and significance." Over the 46 years of the award, it has celebrated buildings by of Frank Lloyd Wright, Ludwig Mies van der Rohe, Louis Kahn and Charles and Ray Eames. Last year it was awarded to the Grand Louvre – Phase I by Pei Cobb Freed & Partners for its iconic stainless steel pyramid that "rivals the Eiffel Tower as one of France's most recognisable architectural icons."  Salk Institute by Louis Kahn, one of the previous winners of the award.. Image © Liao Yusheng The AIA released the following statement: "The jury felt that there were submissions that appeal to architects and there were those that appeal to the public. The consensus was that the Twenty-five Year Award should appeal to both. Unfortunately, this year the jury did not find a submission that it felt achieved twenty-five years of exceptional aesthetic and cultural relevance while also representing the timelessness and positive impact the profession aspires to achieve." This year's jury included architects from Hartman-Cox Architects, Duvall Decker Architects, Strata Architecture + Preservation, Shyft Collective, KSS Architects, Bohlin Cywinski Jackson, Grace Farms Foundation and Rogers Partners, chaired by Lee Becker, a fellow of the AIA. News Via: Architect Magazine
 This posting includes an audio/video/photo media file: Download Now |
| Atelier Ventura Trindade / Ventura Trindade Posted: 10 Jan 2018 05:00 AM PST  © Ricardo Oliveira Alves
 © Ricardo Oliveira Alves Text description provided by the architects. Among the mid-20s and the 40s of XX century, Joaquim Norte Junior, a well known Lisbon-based architect, designed three buildings relatively unknown near Av. da Liberdade, in the heart of Lisbon, changing between a romantic decorativism of the early years of the last century, and a formal clearance openly modernist buildings in the last of the set.  Exploded Isometric  © Ricardo Oliveira Alves The first of these projects includes a semi-public passage that connects two streets through the interior of the block, that than continues through the complex of the Church of the Sacred Heart of Jesus, designed 20 years later by Nuno Teotonio Pereira and Nuno Portas, redesigning the path leading down from Avenida da Liberdade at Rua de Santa Marta.  © Ricardo Oliveira Alves The space of the studio, in a square plan with approx. 25 x 25 meters is strongly marked by the presence of the structure of beams and pillars in reinforced concrete, supporting the six upper floors of the building, and organize the different areas of the studio workspace. A mezzanine divides the 5m height at the rear of the great hypostyle hall. Under the ramp, which allows the motor traffic inside the block, is located a meeting-room and the archives.  © Ricardo Oliveira Alves The project consisted mainly in the opening of the former large windows facing the courtyard and in introducing the infrastructural system in the old warehouse to allow its use as an architectural studio, but then hiding the intrusive presence of technology, leaving the room in its foundational matrix.  © Ricardo Oliveira Alves Opposed to the concrete floor, the presence of the wood in accoustic panels, shelves and partitions reclaims the memory of the old carpentry workshop that worked in space.  This posting includes an audio/video/photo media file: Download Now |
| Stefano Boeri Architetti's Vertical Forest is the Very First to be Used in Social Housing Posted: 10 Jan 2018 03:30 AM PST  © The Big Picture The new social housing project by Stefano Boeri Architetti is the first to integrate a vertical forest into an affordable residential skyscraper, improving the living conditions often incurred within such developments. 5,200 shrubs and 125 trees will be planted up the 75m tall structure in Eindhoven. Trudo Vertical Forest will contain 125 social housing units over 19 floors to house lower income social groups, particularly young people. Each apartment will include a balcony filled with an array of trees, plants and shrubs for a forest soaring into the city's sky.  © The Big Picture Integrating trees into the facade of the high-rise will help to counteract the atmospheric pollution by absorbing the carbon dioxide. Trudo Vertical Forest will also create an authentic eco-system, with over 70 different species, for plants and animals to thrive, facilitating the development of biodiversity within Eindhoven.
Stefano Boeri Architetti's project will use prefabrication with a rationalisation of technical solutions for the facade to optimise the resources and enable the possibility of a vertical forest as social housing. Vertical forests have risen in popular after Stefano Boeri Architetti's call for urban forestry in a global publication last month, encouraging new parks and gardens, vertical forests and green facades. Their video claimed that "increasing and moving trees into the world's cities can help clean the polluted air, drastically reduce CO2, reduce energy consumption and urban heat island effect, increase biodiversity of living species and make cities more pleasant, healthier and attractive." Milan, Nanjing, Paris, Shanghai, Lausanne, Utrecht and Tirana have already proposed vertical forestry designs by Stefano Boeri Architetti, inspired to bring more trees into the urban environment.  © The Big Picture  © The Big Picture Location: Strijp-S, Eindhoven, The Netherlands; Client: Sint Trudo; General contractor: Stam + De Koning; Architects: Stefano Boeri Architetti; Partner: Stefano Boeri; Project Director: Francesca Cesa Bianchi; Project Leader: Paolo Russo; Team: Giulia Chiatante; Elisa Versari Inbo; Project Coordinator: Aron Bogers; Landscape Consultant: Studio Laura Gatti; Façade Consultant: SCE Project; Structure: Adviesbureau Tielemans; MEP Engineer: Ten Hooven Landscape Contractor: Dupre; Visualization: The Big Picture Visual  This posting includes an audio/video/photo media file: Download Now |
| Cima House / GARZA IGA Arquitectos Posted: 10 Jan 2018 03:00 AM PST 
 Text description provided by the architects. Sustainable and smart; this house is one of opposites; breaching the gap between last century's construction methods and next century's technology and ideology.  Axonometric Built with concrete, steel I beams, and wood; it resembles the classic architecture styles of Louis Kahn and Mies Van der Rohe but at the same time it incorporates a range of technological systems not available in their time. Water collection, treatment and reuse, and solar power technology are only some of those mentioned systems.  The smart part of the equation is not only the fact that you can control your lightning to create different moods or lower the temperature of the baby's bedroom from your phone while on a business trip. But more importantly it responds to its environment complementing the sustainable systems to make them more efficient, for example: the sprinklers won’t water the garden if it rained the night before.  First Floor Plan  Section  Second Floor Plan Another opposite we find in the house are the facade designs. The front responds to privacy and security, looking more like a bunker than a residence. Aside from some clues on the ground, you can’t really read where the entrance is, nor figure out if there are any windows at all. The north facade on the other hand is completely transparent, since we wanted to exploit the panoramic views and make them part of the interior.  Upon passing the main entrance, the space quickly opens up to you as you realize the kitchen, dining and living rooms are all encased in a single open space, even the city itself seems part of the same place you are in, thanks to the huge windows mentioned before. The windows are another sustainable system the design embraces; double UV-light resistant glass layers with argon gas in between, they keep Chihuahua's harsh weather at bay.   This posting includes an audio/video/photo media file: Download Now |
| How Drones Can Be Used in Architecture (And How To Use Them Without Breaking the Law) Posted: 10 Jan 2018 01:30 AM PST  © <a href='https://unsplash.com/photos/DiTiYQx0mh4'>Dose Media on Unsplash</a> This article was originally published by Archipreneur as "How Drones Can Be Used in Architecture." Small unmanned aerial vehicles (UAVs), commonly called drones, are gaining in popularity not only among the general public and consumers, but also among professionals working in the AEC industry. We've seen ambitious predictions for the use of drones on construction sites, as transportation vehicles and marketing tools. While this new technology, like 3D printing and robotic fabrication in general, promises to revolutionize the architectural profession, it is useful to know to what extent its practical application can affect the way archipreneurs work. It seems that, for now, drones have great potentials when it comes to several aspects of the profession.
Researchers and firms are already experimenting with building with drones. In 2012, Swiss architecture firm Gramazio Kohler Architects and roboticist Raffaello D'Andrea teamed up with ETH Zürich to program a fleet of drones to lift and stack thousands of polystyrene bricks at the FRAC Centre in Orléans, France. Similarly, researcher Federico Augugliaro and contributors at the Institute for Dynamic Systems and Control and Gramazio Kohler Research had two quadrocopters construct a rope bridge strong enough to carry the weight of a human. These may be impressive feats that will advance the technology, but they still offer little information on the way drones can currently be used in practice. It could be a while before we see programmed drones build entire habitable buildings, but they can already contribute a great deal in surveying building sites, collecting useful data and creating amazing visuals for marketing purposes. The use of drones by (architecture) firms, and those working in the AEC industry, still belongs to a legislative grey area. In the United States, the Federal Aviation Administration (FAA) developed specific regulations that aim to ease the technology into the commercial and consumer sectors. The agency has created a way for firms to apply for permits on a case-by-case basis. Because of the lack of strict regulatory framework, and as long as the use of drones doesn't threaten the safety or security of people or property, architecture firms can use drones mostly for gathering site data, monitoring construction work and creating marketing materials. Regulatory limitations include not being able to fly after dark, out of operator's line of sight, above certain altitudes and near other structures or above crowds. The FAA's official FAQ page states: "If you are operating an unmanned aircraft that weighs less than 55 pounds, generally you may apply for a Part 107 waiver (special permission) to conduct your operation. Your waiver application must outline how you intend to safely conduct your proposed operation, including any additional risk mitigation strategies you may use." In Europe, manufacturers and operators of small unmanned aerial vehicles have to jump through several legal hoops before getting their drones airborne. The European Union doesn't regulate the civilian use of drones heavier less than 150 kilos. There are no regulations on the EU level. Instead, civil aviation authorities (CAAs) have the power to grant flight authorization on a case-by-case basis. As of 2013, the UK's Civil Aviation Authority (CAA) rules are that UAV aircraft less than 20 kilograms in weight must be in direct visual contact with the pilot, cannot fly within 150 meters of a congested area or within 50 meters of a person or vehicle, and cannot be used for commercial activity. Some EU countries, including Czech Republic, France, Germany, Ireland, Italy, the Netherlands, Norway, Romania, and Sweden, also have national regulations, while many others have still not addressed the issue. In all cases where regulation exists, drones must fly within visual line-of-sight, at altitudes less than 500 feet, and with a maximum take-off mass of less than 25 kilograms. The possibility to outfit drones with high-definition cameras, infrared scanners and thermal sensors allows for gathering important data that can affect a project as early as the design phase. They can survey sites, inspect construction quality and photograph completed buildings, with more powerful capabilities in sight thanks to the improvements in battery life and other features. However, the use of drones requires investment in resources and training, so many among architecture firms who use drones choose to employ third-party drone specialists. AECOM has recently received permission for the use of drones in commercial operations. Paul Clarke, Technical Director of Intelligent Infrastructure at AECOM described the way the firm uses drones: "Drones reduce the need to place staff and resources in a position of risk, allow repeatability to surveys, examinations and assessments, and offer a rapid and economical way of acquiring data. We are capable of shooting 4k or HD videos, 16MP photos and can achieve ±40mm accuracy from photogrammetry data." San Francisco AEC firm Bechtel has been granted permission for commercial use of unmanned aircraft system. They teamed with Skycatch in 2013 to further develop the company's UAS platform and integrate it into Bechtel's systems and processes. The data collected by the drone can now be stored in a cloud, analyzed within Bechtel's design and construction software requirements, and viewed on multiple devices by the teams on site. The companies proved the technology's viability at one of the largest LNG projects in Australia. Another San Francisco company, Antonia Bava Landscape Architects, uses drones internally to create a phased master plan for residential design projects. For their project in Sonoma County, the architects used orbitals, reference measurements and photos to gain insight into the details of the property. They process the materials in DroneDeploy (Drone & UAV Mapping Software) through a very quick process. While using satellite imagery for site planning is common among architects, these visuals are often available in low resolution and produce less accurate data. Data collected by drones can completely eliminate the need for hiring land surveyors for creating topographic surveys. Instead, architects can use this information to build accurate 3D models of the terrain and site and import them directly into drafting and modeling software like Rhino.  This posting includes an audio/video/photo media file: Download Now |
| El Tranque Cultural Center / BiS Arquitectos Posted: 10 Jan 2018 01:00 AM PST  © Juan Francisco Vargas
 © Andres Goñi Text description provided by the architects. The project was born as part of the state program, Cultural Centers and Infrastructure for the communes of Chile, which, having more than 50,000 inhabitants, do not count with this type of public infrastructure..  © Juan Francisco Vargas The Cultural Center is located in the foothills of the Andes in the commune of Lo Barnechea It is a growing residential area, with so far (year 2012) little equipment and commerce.  © Juan Francisco Vargas Considering the project's "Cultural" features, the existence of a public square in the neighboring property, the commune's own diversity in terms of constructive typologies, its Traditional/Contemporary Architecture; the surrounding Valley / Mountain geography; and the socio-economic diversity, we propose the creation of a space (a void) of convergence and integration as the center of the building. It is a place that would maximize the public character of the building, where integration between the inhabitant and the cultural actor can take place; A place where the differences were nuanced by social cohesion and the participation of all. It is an "inner" public place where cultural activity can be given free and daily, where, while some perform there, others witness it, and in turn, while they are spectators, indirectly participate in cultural activity.  Courtesy of BiS Arquitectos Thus, the project itself is the justification for creating this void, which is shaped by the interaction of the two opposing volumes: on the one hand, a Zocalo volume, made of stone, strong and rooted to the soil and its traditions, which invites the visitor and hosting him/her. On the other hand, a suspended volume, contemporary, ethereal, configuring and delimiting with its shade the void or central square and conforms the urban facade of the building.  © Juan Francisco Vargas Under the same logic, each volume receives a different program. while on the first floor are located the most public and dissemination programs (Auditorium, Exhibition Hall, Cafe area, etc.), the second level have the areas of training such as musical, plastic arts, scenic, culinary workshops, etc.  Ground Floor Plan The project opens onto the street and towards the neighboring square, fostering the idea of a public place, while the suspended volume is suspended in a series of pillars, symbolizing inhabitants, users and public of the building, understanding that without them, this building would have no sustenance.  © Juan Francisco Vargas The materiality of the building is defined for each volume. The zocalo volume is made of reinforced concrete coated in stone, while the suspended volume is a bridge formed by metal structure and post-tensioned slab.  First Floor Plan Just as under the suspended volume it is the public square, over the zocalo volume there is a green cover that, besides being the yard of the training workshops, it allows the hillside to enter the project, increasing building's feeling of amplitude.  © Juan Francisco Vargas  This posting includes an audio/video/photo media file: Download Now |
| Will Automation Affect Architects? Posted: 10 Jan 2018 12:00 AM PST  © Nicolás Valencia, using image © <a href='https://www.flickr.com/photos/masakiishitani/4065681012/'>Flickr user masakiishitani</a> licensed under <a href='https://creativecommons.org/licenses/by-nc-sa/2.0/'>CC BY-NC-SA 2.0</a> According to The Economist, 47% of the work done by humans will have been replaced by robots by 2037, even those traditionally associated with university education. While the World Economic Forum estimates that between 2015 and 2020, 7.1 million jobs will be lost around the world, as "artificial intelligence, robotics, nanotechnology and other socio-economic factors replace the need for human employees." It's not science fiction: the MIT Technology Review warns that the current debate over raising the minimum wage for fast food employees in the United States would accelerate their own automation. On the other hand, Silicon Valley personalities and millionaires like Elon Musk and Richard Branson warned that the impact of automation will force the creation of a universal basic income to compensate not only the massive unemployment that would generate these new technologies but also the hyper-concentration of the global wealth. One advocate of this idea is the British economist Guy Standing who wrote at the Davos Forum that it "would be a sensible precaution against the possibility of mass displacement by robotization and artificial intelligence," but will automation affect architects? Will we really be replaced by robots? Think for a moment about your parents, grandparents, and great-grandparents work: during the 20th century, hundreds of businesses emerged and disappeared as new technologies emerged and consolidated. Academics Ian Wyatt and Daniel Hecker estimated that in 1910 about 32% of the US population was involved in agriculture, while professionals and technicians did not exceed 5%. Ninety years later, only 1% remained in the field, while those with professional training accounted for 23%. If you think about it, today we are talking about social network experts, data scientists, UX designers, renderers, drone specialists, application developers, virtual reality creators, architects specializing in 3D / BIM / special effects / sustainability or even if they work on ArchDaily and the whole ecosystem of the world of architecture on the Internet. For these new jobs, it is necessary to learn new technologies and exercise skills that have not been previously evaluated by the job market. However, this training takes years and resources: we know that those who lost their jobs in metallurgy or agriculture were not immediately data scientists. This formative and generational transition is painful. Authors like Guy Standing speak of the precariat, a fragile new social class, overqualified, hired at zero hours and highly prone to populism. In this sense, the emergence of applications like Uber has effectively created new economies around them - also called "collaborative" - but they have not necessarily created quality jobs: there are no pensions, no social protection or paid holidays, but a freelance disguised as collaboration. Let's go back to architecture: Future of Jobs projects that, for the five-year period ending in 2020, jobs related to computing, mathematics, engineering and architecture show "solid growth." In the case of these two last fields, this would be thanks to the growth of the middle class in emerging markets, climate change, 3D printing massification and geopolitical volatility, among other factors. On the other hand, The Telegraph newspaper estimated the automation probabilities of 700 jobs, from a University of Oxford study published in 2013. The good news? Architects have one of the lowest replacement rates (1.8%), in a comfortable position with stylists (2.1%), aerospace engineers (1.7%), curators (0.7%) microbiologists (1, 2%), theatrical makeup artists (1%), anthropologists (0.8%) and choreographers (0.4%). So, what do the most difficult jobs to replace have in common? Many of them require a high level of human interaction and have a low percentage of repetitive activities in their workday. David J. Deming, a professor at the Harvard School of Education, crossed job offers published in the United States between 1980 and 2012 with the skills needed for each job. Deming concluded that those employees who "successfully combine mathematical and interpersonal skills [...] should find many rewarding and lucrative opportunities" in the future, highlighting soft skills such as empathy and cooperation. In that way, Mark Cuban postulated in the last edition of the SXSW conference cycle in the United States that jobs related to cognitive skills, critical thinking and creativity would be less exposed to be replaced by robots:
In this sense, a recent study by University College London (UCL) and the University of Bangor postulates that sculptors, architects, and painters "seem to relate to a different spatial conceptualization that manifests itself in a systematically contrasting way of speaking about space." That is a spatial perception that distinguishes us as architects but also separates us from the rest of society by sharing and disseminating ideas to those who are not specialized. Automation and artificial intelligence, for the time being, would not replace architects, but this does not mean that the discipline does not undergo profound transformations in its exercise: computers and software eliminate tedious repetitive activities, optimizing the production of technical material and allowing, among other things, atomize the size of architectural offices. Each time fewer architects are needed to develop more complex projects. On the other hand, the saturation of the labor market motivated thousands of architects to take advantage of their learned skills to cross other disciplines. And while some are still tangled in rusty discussions about whether we should project with pencil or mouse; Virtual reality, 3D printing and the advances that artificial intelligence continues to show continue to shape discussions about our profession in the coming years. With or without robots.  This posting includes an audio/video/photo media file: Download Now |
| The Best Architecture Portfolio Designs Posted: 09 Jan 2018 10:00 PM PST .jpg?1496179855) When applying for an architecture job, you need to make sure you have the perfect portfolio. While a clever and attractive business card might help you initially get a firm's attention, and a well-considered résumé or CV might help you prove your value, in most cases it will be your portfolio that makes or breaks your application. It's your portfolio that practices will use to measure your design sensibilities against the office's own style and to judge whether you match up to the talents claimed in your résumé. That's why in March, we launched a call for our readers to send us their own portfolios so that we could share the best design ideas with the ArchDaily community. Our selection below shows the best of the nearly 200 submissions we received, which were judged not on the quality of the architectural design they showed (though much of it was excellent) but instead the design quality of the portfolio itself. In making the selection, we were looking for attractive graphics, a clear presentation of the work itself, the formulation of a visual identity which permeated both the architectural designs and the portfolio design, and of course that elusive and much-prized attribute: "creativity." Before we get started, we thought we would take this opportunity to present our top tips for designing your own portfolio:
Gregory Barber Submitted by Gregory Barber About the design: "I aim to make it as simple and immersive as possible with many axon drawings and full bleed model perspective photos that allow me to tell a story in just one glance." - Gregory  Submitted by Gregory Barber  Submitted by Gregory Barber Vingan Razvan Submitted by Vingan Razvan Why we like it: Each design in this portfolio is presented with a full set of design images: plans at a number of scales, sections, elevations, and diagrams. Neatly and consistently laid out, this one really lets the architecture speak for itself.  Submitted by Vingan Razvan  Submitted by Vingan Razvan Wilmer Coronado Castillo Submitted by Wilmer Coronado Castillo About the design: "You know that much of the time, curiosity dominates our lives. As long as you decide to open the box, you will find scribbles that ended up being part of my best ideas... Starting from an intriguing-looking box that includes a few projects, they immediately make recognizable a working style." - Wilmer  Submitted by Wilmer Coronado Castillo  Submitted by Wilmer Coronado Castillo Derek Pirozzi Submitted by Derek Pirozzi About the design: "The intent of this portfolio was to keep all information direct and cohesive. Each portfolio spread seeks to create separate comprehensive spreads which are geared towards 1 proposal per spread." - Derek  Submitted by Derek Pirozzi  Submitted by Derek Pirozzi Rina Ben Shimol Submitted by Rina Ben Shimol About the design: "White on white." - Rina Cristóbal Riffo Submitted by Cristóbal Riffo Why we like it: The layout of this portfolio is incredibly strict: in almost all cases, there is exactly one image per page. Any auxiliary information, such as page numbers and project titles, is shown at an absolutely minimal size to bring out the strength of the work. The portfolio is simple, clean, and striking.  Submitted by Cristóbal Riffo  Submitted by Cristóbal Riffo Miguel Roig Burgal Submitted by Miguel Roig Burgal About the design: "I wanted to show my way of seeing and doing architecture, that's why I consider my portfolio very minimalistic, without too much information and drawings, only the ones I consider enough to explain the projects. From the typography to the position of the images and schemes, the whole portfolio is very light and elegant which its an accurate reflection of me." - Miguel  Submitted by Miguel Roig Burgal  Submitted by Miguel Roig Burgal Li Dai Submitted by Li Dai Why we like it: This portfolio shows the full extent of Li Dai's range, including diagrams, graphs and even comics in addition to the usual renders and drawings. Importantly, each new project is announced with a strict and consistent title page layout, giving structure to what would otherwise be a cacophony of different presentation styles.  Submitted by Li Dai  Submitted by Li Dai Maël Barbe Submitted by Maël Barbe About the design: "Through this approach the character of the projects is intensified and releases the essence of the desired atmosphere. It reveals a sensory and radical architecture by the play of a strong contrast." - Maël  Submitted by Maël Barbe  Submitted by Maël Barbe Benjamin Wichman Submitted by Benjamin Wichman About the design: "This portfolio layout blends the flat design of large geometric typefaces and full bleeds with the skeuomorphism of tactile imagery, championing handcraft and the narrative of process." - Benjamin  Submitted by Benjamin Wichman  Submitted by Benjamin Wichman  Submitted by Benjamin Wichman Eytan Levi Submitted by Eytan Levi About the design: "After a few portfolio trials, I found out that having a lot of white space enhances and strengthens pictures and drawings. This is the main guideline I used while creating this portfolio. The circle image at the beginning of each project reminds the reader he is looking at something new." - Eytan  Submitted by Eytan Levi  Submitted by Eytan Levi  Submitted by Eytan Levi Aayush Jindal Submitted by Aayush Jindal Why we like it: The key to this portfolio is image selection: Aayush's flair for dramatic renders is put in the spotlight thanks to large images that take up at least half of an entire spread.  Submitted by Aayush Jindal  Submitted by Aayush Jindal Lazar Belic Submitted by Lazar Belic About the design: "My portfolio contains only one project, explaining the design methodology behind it. The project starts with the textual description of concept and context, accompanied with the general info, keywords and the visualization. There is hierarchical organization of the presentation: introduction to site, general massing, structure, space organization, interiors and details. In this way, one project covers different scales and topics." - Lazar  Submitted by Lazar Belic  Submitted by Lazar Belic Thea Mihu Submitted by Thea Mihu About the design: "I worked with a A4 page size layout and had a templet layout drawn in InDesign, which I used for most spreads, for example focusing the main subject into a square. As for graphics, I like to use colour to emphasise the main features of the exposed renders/plans/diagrams/technical details." - Thea  Submitted by Thea Mihu  Submitted by Thea Mihu Bastian Marzoli Submitted by Bastian Marzoli About the design: "In an age when portfolios are to be seen mainly on a screen, the more logical way for me was to design mine in the shape of a simple and playful website. The use of one unique letter for each category of my portfolio allowed me to keep the navigation menu very simple while adding a sense of mystery to the website... This idea of a new place that you have to discover almost by wandering around was important to me, and I designed the different menus and animations in order to create a journey full of surprises, thus entertaining the visitor while letting him discover my work." - Bastian  Submitted by Bastian Marzoli  Submitted by Bastian Marzoli  Submitted by Bastian Marzoli Keyhan Khaki Submitted by Keyhan Khaki Why we like it: While each image fills the space that it is given, the simple four-way split used on each spread ensures that the space doesn't feel over-full. The design of the portfolio complements the architecture itself to give the whole document a strong, brooding feel.  Submitted by Keyhan Khaki  Submitted by Keyhan Khaki Pilar Ribot Reus Submitted by Pilar Ribot Reus About the design: "Based on simplicity, where only strong and representative images are shown. The blank of the page becomes part of these images." - Pilar  Submitted by Pilar Ribot Reus  Submitted by Pilar Ribot Reus  This posting includes an audio/video/photo media file: Download Now |
| You are subscribed to email updates from ArchDaily. To stop receiving these emails, you may unsubscribe now. | Email delivery powered by Google |
| Google, 1600 Amphitheatre Parkway, Mountain View, CA 94043, United States | |
Nema komentara:
Objavi komentar