Arch Daily |
- Industrial Remodelation at Villaperez / Padilla Nicás Arquitectos
- Create Café / Nadine Engelbrecht Architect
- Zhujiadian B&B School / Land-Based Rationalism D-R-C
- Dorgenois Residence / Colectivo
- Original Bakery / D+space design
- Fabrika Filmes Headquarters / CoDA arquitetos
- Aracari House / Diego Rodríguez Romano
- Diller Scofidio + Renfro, Brooks + Scarpa Among Winners of 2018 AIA Institute Honor Awards
- COLABS Panamerican School of Porto Alegre / Santini e Rocha Arquitetos
- Kengo Kuma & Associates Reveal Plans for New Aquatics Centre on Copenhagen's Waterfront
- LCDZ / COCCO Arquitectos
- Tatiana Bilbao: “Architecture Should Benefit Every Single Human Being on This Planet”
- Apartment Refurbishment / Aboim Inglez Arquitectos
- Low-Budget Urban Garden Uses Local Materials to Bring Quito's Community Together
- '220 Mini Metros' Illustrates Metro and Train Networks from Around the World
- House in Altea Hills / RGB arquitectos
| Industrial Remodelation at Villaperez / Padilla Nicás Arquitectos Posted: 12 Jan 2018 09:00 PM PST  © Mariela Apollonio
 © Mariela Apollonio  © Mariela Apollonio Text description provided by the architects. Villapérez Wastewater Treatment Plant, northeast of the city of Oviedo occupies a huge extension, about 21 hectares. It was made at the beginning of the '90s and is composed of several constructions made with concrete block plastered in yellow and roofs of sheet metallic red, with little attention to the environment in which they are located.  Site Plan  Workshop Elevations The commission consists of literally "giving a new face" to buildings, with such a big budget constraint that only was able to achieve the commission by painting the buildings, without changing their volumetrics or the layout or type of voids.  © Mariela Apollonio We apply colors that are diluted in the usually leaden sky of the environment. Employed in contiguous faces of each building, as it is seen in the developed elevations, it is tried to break the anodyne and the large volume of the buildings and to relate them to each other. This range of colors is complemented by a family of colors more intense and daring that allows identifying in each building the unique elements of use: accesses, connections, etc.  © Mariela Apollonio All this is completed with a powerful signage that helps to identify each building from the great distances that separate them.  © Mariela Apollonio Due to the increase of population whose waters are treated in this Station, it is necessary to construct three new buildings that must be made compulsory in prefabricated concrete, and whose position and volume can not be altered.  © Mariela Apollonio  © Mariela Apollonio Again our mission is focused on the treatment of the envelopes, proposing the size of the prefabricated panels. In addition, we use different shades in the pigmentation of the prefabricated ones to ensure that buildings are integrated with the environment.  Workshop Elevations and Details The steel sheet bases that agglutinate the entrances are painted with an intense yellow color. In this way, we can relate them to the intense colors of existing buildings.  © Mariela Apollonio  This posting includes an audio/video/photo media file: Download Now |
| Create Café / Nadine Engelbrecht Architect Posted: 12 Jan 2018 06:00 PM PST  © Marsel Roothman Photography
Text description provided by the architects. Neighbouring residential property which contained an old derelict Pretoria house. The concept proposed to repurpose the existing house and freestanding garage as a conference room and café at minimal cost, disturbance and time. The surviving elements of the building were exposed and uncovered to serve as the backbone of the new design - to support new interventions and additions. Design and materials were selected to stitch together the old and new fabric and transform the existing buildings to facilitate a variety of social spaces, whilst making the most of Pretoria's favourable climate.  © Marsel Roothman Photography Ceilings, floors and internal walls were removed from the old house to accommodate the conference space, kitchen and bathrooms. The structural integrity of the old garage walls was questionable, thus an additional layer was added in the form of a steel structure placed over the old brick walls. The resultant loft creates non-traditional volumes and adds a mezzanine space for a café and lounge area. The new roof and cantilevered glass facades offer glimpses of dense foliage whilst the street-facing picture window invites public glimpses to the life within. The existing building footprint and walls remained intact. Plaster was removed to reveal original bricks and celebrate the presence of the old.  © Marsel Roothman Photography In choosing a brownfield site and renovating an existing building, the impact of construction is kept to a minimum. Construction waste, such as demolished internal walls and heritage pavers found on site, was reclaimed and reused on site for construction or as artwork. New window placements and skylights invite natural daylight into the structure and assist in keeping the energy demand as low as possible. Natural cross ventilation and sufficient insulation assist in passive cooling of the structure during summer.  © Marsel Roothman Photography  This posting includes an audio/video/photo media file: Download Now |
| Zhujiadian B&B School / Land-Based Rationalism D-R-C Posted: 12 Jan 2018 02:00 PM PST  © Guangyuan Zhang
 © Guangyuan Zhang Text description provided by the architects. This project is a B&B, also a school to teach how to build a B&B. These new buildings locate in front of the Zhujiadian Brick Kiln Museum. A branch of Changbai Late lays between the B&B and the museum, where the bricks can be shipped to anywhere along the water.  © Haian Guo  Site Plan  © Guangyuan Zhang From the opposite side, we image a beautiful view of water town to south of the Yangtze River. We regard the water as a river, where are quays, terraces and houses with white walls, black tiles and square windows.  © Haian Guo As a school，it can inform the villagers that with the modem technology houses conform to the traditional buildings and according with the contemporary life also can be built. To make it clear, Xie Yingjun is invited to be the structural designer, who can teach the villages how to use the light steel structure with low cost. Zhu Shengxuan is invited to be the operator, who has successful operated the Moganshan B&B. And Xie Xiaoying is also invited to be the landscape architect, who is good at rural landscape and can dress our small houses up.  © Guangyuan Zhang All the experts came together into Zhujiadian and we hope more and more people visit here to feel the life here，the brick culture and the kilns built in Ming Qing Dynasty. There is a street inside the buildings, from which the guests can reach the village. Along the street, the public space such as shops and cafes on one side while four yards on the other side. The yards and the street can recall the poem "Swing in the yard while the sounds out to the path".  © Guangyuan Zhang There are 4 yards, each is made up with 3 rooms. The guests can order rooms one by one or just choose 1 yard. In every yard there is a dining room, where visitors can meeting friends or have a party.  1F Plan To reduce the load of the houses, we customized the metal tiles, which are lighter than clay tiles. To keep the rural life, we use the grass mud wall on the ground floor and bamboo block walls on the upper floor. All these methods show how to build a house harmless to nature. From the side of Changbai Late, or from the side of village bus stop, various facades can be seen. It is a cross point of traditional appearance and modern life, which we try to find. And we are designing a Chinese Painting: a grass pavilion on the late side, several stone in the small yards and bamboos along the little path.  © Guangyuan Zhang  © Guangyuan Zhang It is a B&B with ports, yards and streets, where we can return to the original condition of the country life, the water life and the poetic life. What we have done would make more and more villagers to know the importance of our local culture and glorious tradition, by which they can build their houses regionally, natively and wonderfully.  © Guangyuan Zhang  This posting includes an audio/video/photo media file: Download Now |
| Dorgenois Residence / Colectivo Posted: 12 Jan 2018 12:00 PM PST .jpg?1511870813 "© Michael Wong") © Michael Wong
.jpg?1511870978 "© Michael Wong") © Michael Wong Text description provided by the architects. This project- a home in New Orleans- was designed, built, and owned by the architects that worked on it. This was born partially out of a desire to explore less-traditional roles for architecture firms; partially to act as the guinea pigs for their own architectural ideas and whims, and partially out of the indulgence of using one's own hands to build the work they design. .jpg?1511871466 "© Michael Wong") © Michael Wong The group purchased the substandard vacant lot in a public auction held by New Orleans' Redevelopment Authority, with the stipulation that winning bidder had only 12 months to design, permit, build, and occupy on the little 30' x 90' lot. These restrictive timeline and design challenges were counterweighted by the endearing qualities of the dense, lively neighborhood and the lush, live oak lined street; each of which lended themselves to the site and massing strategy for the house.  Floor Plan The broad design approach involved positioning the main living area on the upper floor to engage the tree canopy, providing a sense of cozy loftiness reminiscent of a child's treehouse. The lower volume has an exterior "carriageway" carved through the entire mass, creating covered outdoor space (the width and length based on the long linear tables used for communal crawfish boils) allowing a sense of extensiveness on the deceptively small lot. .jpg?1511870861 "© Michael Wong") © Michael Wong An interior double height volume is carved into the front of the house; affording deeper visual access to the upper tree canopy, and connecting the public areas on the ground floor to the semi-public area on the second. A similar high volume was positioned in the rear of the house which gives a view into the high night sky when laying in bed in the evening. .jpg?1511871013 "© Michael Wong") © Michael Wong The main mass of the building is positioned to align with and continue the streetfront edge established by the existing homes on the street. Through variance and negotiation with the City of New Orleans, the front stoop cantilevers beyond the property line in order to align with the historic stoop condition along the streetfront.  Diagram  Section The building itself is a modest 1400 SF, and is arranged to operate as either a 3 bedroom, 2.5 bath home- or two smaller units (a 2 Bed / 1.5 Bath and 1 Bed / 1 Bath) unit to allow short and long term flexibility for the owners. .jpg?1511871032 "© Michael Wong") © Michael Wong  This posting includes an audio/video/photo media file: Download Now |
| Original Bakery / D+space design Posted: 12 Jan 2018 11:00 AM PST  © Fancy Images
 © Fancy Images Text description provided by the architects. Bake Cafe is located in CBD of eastern lake in Suzhou, the heart of Jinrong street. It mainly operates baking, coffee and light food. The designer uses the warm design method to make the cold Cement Forest, giving customers psychological hug and a sense of belonging. Floor-one's two meals mainly have Northern Europe style, third floor has heavy industrial style. According to the different functions, the spatial level will also have a lot od changes. The space's light, music and nostalgic retro atmosphere make people relaxed.  © Fancy Images The first floor is coffee and bakery area  © Fancy Images  1F  © Fancy Images There are cubes in a falling line shape hanging in the air, stacked like building blocks, which retains the light of highspace, but also increases the fun of space. Designers speciallyinstalls the white grids in the French windows, so that the reptiles can grow up, putting plants with large leaves high and low scattered on the wooden steps, people have a sense like they are in the streets of Europe, sitting outside a cafe on the street corner, drinking coffee, enjoying fresh air and green plants.  © Fancy Images Bars are composed with the woods block with different colors and white acrylic, with the square frame on the top, the bar is a space with three transparent sides, letting waiter communicate with guests better. Bar area has a variety of functional requirements, including staffing transfer, cash register, sound control, the most important function is coffee making and the sales display of bread cake.  © Fancy Images Second floor is dining area with friends  © Fancy Images  2F The third floor is teaching and thematic activities area  © Fancy Images  This posting includes an audio/video/photo media file: Download Now |
| Fabrika Filmes Headquarters / CoDA arquitetos Posted: 12 Jan 2018 09:00 AM PST  © Joana França
.jpg?1487894136 "© Joana França") © Joana França Archictecture of shared spaces The project for Fabrika Filmes's new headquarters emerges from a core challenge: to create a concise and flexible building, adapted to the needs of a video production company and its partners. A careful analysis of the previous headquarters was crucial for creating a blueprint of their requirements, to allow a smooth transfer and also the company's future expansion. In order to do that, not only the functions and distribution of main areas were considered, but also the dynamic way of working and strong social interaction existent within the production company: mobility and constant transformation and intense meeting of people in the communal spaces within a well-defined hierarchy of hubs. .jpg?1487895389 "© Aníbal Fontoura") © Aníbal Fontoura The plot, located in the new part of the Industrial Area of Brasilia, SIA (Setor de Indústrias e Abastecimento) also posed its challenge. If, on the one hand, it is commonplace to face the urban context as a dialogue and motivation element for the first architectural decisions, what can one say about a plot in which an urban context is virtually inexistent? This was precisely the case of this new area of SIA, created from a government incentive program, where urbanism was done alongside with the construction of most buildings. Thus, the initial context of this plot to be taken into account was basically the few existent elements: orientation, main winds and the distant presence of Estrutural express way, one of the city's main express ways. .jpg?1487894046 "© Joana França") © Joana França .jpg?1487893825 "© Joana França") © Joana França Firstly, the studio was positioned at the back part of the lot, taking the most advantage of the restraining required by the city law and leaving a 3,8 mt side track for vehicle circulation. The areas next to the studio, as well as the editing and staff centers, should surround it, but that placement would impair the groundfloor common areas circulation. In order to solve that, it was decided to use the underground, as the legislation allows full occupation, making the groundfloor semi-subterranean with its accesses on the floor below. The studio attached areas and the staff center may then surround it. The editing center is located at the front part underground, a well-fit position considering the necessity of controlling natural lighting and ventilation for technical purposes such as calibrating colors and blocking noises. .jpg?1487894540 "© Joana França") © Joana França As the construction area took about 80% of the underground, natural lighting and ventilation became major concerns, for what steam outlets and light entries were placed wherever possible, like the one under the bench on the groundfloor. Strategically set to stimulate social interaction outside the building, it also ensures a well-ventilated and enlightened underground. For the light restricted areas, a large cutout was made on the ground, giving the underground users a direct contact with the outside. A large green wall comes out from below Fabrika's main entrance, signing the presence of life in the beneath it. This is, afterall, the place where people work most of the time, including into the night shifts. At those times, the distinction between day and night is fundamental, hence the natural light in the common areas.  Section AA The studio's location positioned the vertical circulation by its side, at the central area, rather than at the front part of the lot, a more obvious option. The upper floors (office area) were, therefore, divided in two, which led to a better stratification, increasing space flexibility and usage. That enabled layout variations on the floors destinated for rent and commercial partners. Besides, the central top-down open space provides visual connection between the different areas and floors, providind more casual meetings and reinforcing the company's social environment. .jpg?1487894633 "© Joana França") © Joana França The resulting atrium is the exception space in Fabrika's headquarters, and also where the flow of people starts. Its full-height ceiling integrates the aerial walkways to the vertical circulation, links visually the social and restricted functions in a permanent way and intersects the metallic structure's continuous modulation. The movement on the two office floors and the groundfloor can be noticed, especially by the intense presence of glass as much in the east and west façades as on the ceiling, elevator closures, stairways and walkways between the two sides of the building. .jpg?1487894335 "© Joana França") © Joana França In order to strengthen the dynamism of this space an unusual plastic resource has been used: the regularity caused by the atrium perfect square shape – constituted by sixteen 120 x 120 cm cement boards – and the glass cladding ceiling mirroring the floor modulation is broken by the walkways connecting the building. One can imagine a twisted cube, like a backbone, creating imaginary voids square from the square cutouts rotated above the walkways. This effect is reinforced by wooden arrangement touched by light, both in the ceiling as in the walkways's floors. .jpg?1487893444 "© Joana França") © Joana França The pedestrian access route has been set from the lot's front entrance to the central atrium on the groundfloor by extending a black marquee from the studio's concrete structure forward. This design provides coverage to the pedestrian access all the way long, at the same time that it sets a symbolic gesture: the studio reaches for the city, inviting visitors to access the building. .jpg?1487894367 "© Joana França") © Joana França The office floors (second and third) fulfill the project requirements related to flexibility, for what a common area (bathrooms, cleaning storages and dining rooms) column was created facing the central atrium, leaving space for the offices at the main span. This free span was made possible by the use of metallic structure, capable of reaching 10,8 mts in a cross span, and raised-floor, enabling quick layout changes. Setting exclusive shafts for logical and electrical installations was essential since it allows recabling the whole building as needed. .jpg?1487894508 "© Joana França") © Joana França The offices's form also benefits from cross-ventilation and great presence of natural light, dismissing quite some artificial light and ventilation devices. The balconies, generous living spaces amongst the offices, connect to the dining rooms and atrium walkways, closing up this area's composition. This auxiliary structure, that overhangs 1,8 mts from the metallic structure, links the whole building length through the east façade, protected by perforated metal sheets. .jpg?1487894079 "© Joana França") © Joana França  This posting includes an audio/video/photo media file: Download Now |
| Aracari House / Diego Rodríguez Romano Posted: 12 Jan 2018 07:00 AM PST  © Eduardo Rodríguez Romano
 © Eduardo Rodríguez Romano Text description provided by the architects. Found at the Occidental side of the Central Valley, in a town called Atenas. The house offers its users peace and a comfortable atmosphere away from the hustle and bustle of the city. A place to lay back that stands immersed between coffee plantations mixed with tropical dry forest trees and a lovely weather that characterizes this town.  © Eduardo Rodríguez Romano The access to the property stands out with an outstanding vertical volume coral stone plated, joined by a wooden pergola, breaking out with the horizontal element in the composition. It also works as the main lobby that functions to incorporate and organize the space.  Axonometric The west aisle directs us clearly to the private area of the house where we can find the bedrooms. At the east sector the social area stands combining internal and external functions depending on the user necessities and the weather shifts.  © Eduardo Rodríguez Romano Aracari's House deck is built over the terrain level and incentivizes relax and enjoyment under the sun. It has a Jacuzzi with a capacity for three people with amazing panoramic views from the east and in direct contact with the exuberant tropical nature.  © Eduardo Rodríguez Romano It’s simple, single-gradient roof and broad eaves fly over the housing as a protective element of the different climatic factors. Also, it´s south ascending morphology creates enough height combined with efficient cross-over ventilation that generates a comfortable temperature for every space in the house.  © Eduardo Rodríguez Romano  This posting includes an audio/video/photo media file: Download Now |
| Diller Scofidio + Renfro, Brooks + Scarpa Among Winners of 2018 AIA Institute Honor Awards Posted: 12 Jan 2018 06:15 AM PST  Seventeen projects chosen by the American Institute of Architects (AIA) have been selected for this year's Institute Honor Awards for Architecture, an award known to be the profession's highest recognition of works in America that exemplify an excellence in architecture, interior architecture and urban design. Out of 500 submissions, the 17 recipients will be honoured with the award at the AIA Conference on Architecture in New York City in June. 2018 Institute Honor Awards for Architecture © James Dow / Patkau Architects Audain Art Museum / Patkau Architects Inc.The Audain Art Museum is a private museum built to house and exhibit Michael Audain's personal art collection, including British Columbia art from the late 18th century to the present. The design navigates three main determinants by connecting local culture with the permanent collection and traveling exhibits of all kinds, by spanning the revegetated floodplain of Fitzsimons Creek, and by strategically shedding the enormous snowfall typical of Whistler. The building's minimal interiors recede behind the art and its calm exterior foregrounds the natural landscape.  © Iwan Baan The Broad / Diller Scofidio + RenfroAssociate Firm: Gensler With its innovative "veil-and-vault" concept, The Broad showcases the comprehensive collection of The Broad Art Foundation's worldwide lending library. The "vault" storage holding shapes the museum experience for visitors who enter the lobby below its carved underside, shoot through it in the elevator, stand above it in the galleries, and peer in through viewing windows. The vault is enveloped by the "veil," an airy, honeycomb-like structure that filters daylight into public galleries. Since opening in 2015, The Broad has welcomed more than 1.7 million visitors and has been heralded as a catalyst for urbanizing downtown Los Angeles.  © Kate Joyce Studios Chicago Riverwalk / Ross Barney ArchitectsAs early as Burnham and Bennett's 1909 "Plan of Chicago", the Main Branch of Chicago River was envisioned as a place of both leisure and commerce. Nearly a century later the Chicago Riverwalk has realized this vision. Through changes in its shape and form, the continuous river level path drives a series of new programmatic connections to the water. Above all, the Riverwalk honors the iconic quality of the existing urban context by embracing and interpreting Chicago's layered history.  © Miller Hull Gohar Khatoon Girls' School / Robert Hull, FAIA, and the University of Washington, Department of ArchitectureLocated in Mazar-i-Sharif, Afghanistan's fourth largest city, the Gohar Khatoon Girls' School is an important urban center educating several thousand girls every day. Commissioned by the Balkh Province Ministry of Education, in partnership with a U.S.-based non-profit organization, the school is integrated into the national education system expanding Afghanistan's push toward the development of women and girls and their contribution and inclusion within Afghan society. Gohar Khatoon supports this process by promoting stability, comfort, and community engagement and has become a model for other girls' schools in the country. .jpg?1515782198 "© Albert Vercerka") © Albert Vercerka Manhattan Districts 1/2/5 & Spring Street Salt Shed / Dattner ArchitectsAssociate Firm: WXY Architecture + Urban Design Located at the edge of Manhattan in a dense mixed-use neighborhood, the Department of Sanitation's garage and a salt shed were signature projects of NYC's Design Excellence program. The 425,000-square-foot garage's double skin façade is clad in perforated metal fins, reducing solar loading while providing a strong vertical articulation of the project's mass. The 5,000-square-foot salt shed, with faceted concrete planes, has become an iconic structure, attracting photo shoots, architectural tourists, and curious locals. The design and siting of these two projects provide a dignified example of vital civic architecture.  © Lara Swimmer Mercer Island Fire Station 92 / Miller Hull PartnershipFrom the earliest ages, we are drawn almost magically to the firefighters, firetrucks and the equipment contained in these civic landmarks. The design for the 8,000-square-foot replacement of FS92, originally built in 1962, embraces this attraction by providing inviting views into the apparatus bay from the main pedestrian and vehicular thoroughfare in this small island community. This visibility promotes a greater connection to the people that the fire station serves, resulting in increased awareness and vocal advocacy for these vital services. The design team incorporated a number of sustainable features to reduce energy use and provide thermal comfort for the firefighters. The station boasts a thermally efficient envelope, and fast-acting bi-fold doors in the vehicle bays reduce the amount of time the doors are opened following an emergency response.  © Bruce Damonte New United States Courthouse / Skidmore, Owings & Merrill LLPThe New United States Courthouse – Los Angeles houses the U.S. District Court, Central District of California. The building's architectural expression is an inextricable union of site orientation, environmental performance and principles that honor the public realm. An innovative hat-truss structure allows this cubic form to "float" above a stone base, opening up new public spaces, giving the project a clear civic presence and separating it from its commercial neighbors. The design is rooted in classic principles of American civic architecture as seen through the lens of 21st Century Los Angeles.  © Kevin Scott Washington Fruit & Produce Company Headquarters / Graham Baba ArchitectsCompany leaders desired a new office/headquarters that would serve as a refuge from the industrial agribusiness landscape that surround them. They asked for warmer materials, little-to-no concrete, non-boxlike forms, protection from the freeway, and a spare office aesthetic that minimized visible equipment or devices. The approach for the new 16,500-square-foot office was to create an inwardly focused oasis. The building is light, from the delicate, expressive structural beams to the ample amount of daylight throughout. The building tucks into its environment to merge with nature. 2018 Institute Honor Awards for Interior Architecture_Hedrich_Blessing_(1).jpg?1515782028 "© Hedrich Blessing") © Hedrich Blessing Chicago Public Library / Skidmore, Owings & Merrill LLPThe Chicago Public Library, Chinatown Branch serves as a civic, educational, and social hub for the city's Chinatown neighborhood. The most visited branch in the Chicago Public Library system, the library provides a much-needed public gathering place geared toward community activities and technology-based learning. Anchored by a skylit two-story central atrium, the building's interiors are open concept, flexible, and sustainable, and feature daylighting, panoramic neighborhood views, with bright, comfortable furnishings for visitors of all ages, including a vibrant site-specific 60-foot mural on the history of Chicago's Chinatown painted by a local artist. .jpg?1515782694 "© Desai Chia Architecture") © Desai Chia Architecture Photographer's Loft / Desai Chia ArchitectureThis industrial loft renovation was designed for a photographer seeking a serene live-work environment. The library/reception area immediately off the entry vestibule serves as a hinge for two distinct zones – the east zone flows directly into the 'private' domain of her photography studio and private bedroom, while the south zone flows into the 'public' domain of her kitchen, dining, and living areas. By cutting and folding the ceiling planes, light gently bounces throughout and anchors the seating areas. Functional raw steel, wood, and resin elements artfully shape the environment throughout.  © Gayle Babcock | Architectural Image Works Reeds Spring Middle School / Dake Wells ArchitectureTaking advantage of the site's dramatic topography, this new middle school places the two largest programmatic spaces below grade, providing energy efficiency and storm resiliency for nearly 400 students and teachers. A cascading atrium is the heart of the school, flooded with light and activity, connecting collaborative teaching zones and flexible learning environments. A wood screen references the nearby woods while providing added safety and warmth to the building interior.  Courtesy of LMN Architects Sound Transit University of Washington Station / LMN ArchitectsThe Sound Transit University of Washington Station creates a unified solution at one of Seattle's busiest intersections and provides a unique gateway to the UW campus through its above and below-grade experiences. At the heart of the 156,000-square-foot station, LMN Architects and artist Leo Saul Berk collaborated to create an integrated experience for travelers, where the architecture seamlessly merges with Berk's artwork, Subterraneum. Backlit perforated metal panels clad the chamber walls, forming patterns of light that express the geological layers of earth, and suffuse the space with ambient light. The Station opened as the second of two stops on the University link in 2016, increasing system ridership by 80 percent.  © Matthew Millman Square, Inc. Headquarters / Bohlin Cywinski JacksonSquare's headquarters, spanning four floors of a converted data center, utilizes urban planning principles to transform vast floorplates into a vibrant workplace. A central boulevard, lined with landmarks that break down the scale of the expansive project, serves as the organizational spine of the 295,000-square-foot space. A monumental amphitheater unifies the office floors, providing a flexible venue for a host of activities. Clean lines and predominantly white interiors resonate with Square's brand at both aesthetic and functional levels, highlighting the company's core values to create a refined, seamless experience. 2018 Institute Honor Awards for Regional and Urban Design © Kate Joyce Studios Chicago Riverwalk / Ross Barney ArchitectsUtilizing derelict infrastructure, the Chicago Riverwalk is a one-and-a-quarter-mile-long civic space between Lake Michigan and the confluence of the main, north, and south branches of the Chicago River. What might have been unimaginable years ago has been achieved: an activated riverfront in the heart of a booming urban core. The Riverwalk has transformed Chicago and in turn has become a beloved park for residents, visitors, and people of all backgrounds.  Courtesy of Brooks + Scarpa and Florida Atlantic University Salty Urbanism: Sea Level Rise Adaptation Strategies for Urban Areas / Brooks + Scarpa, Florida Atlantic University and University of Southern CaliforniaSalty Urbanism is a sea-level rise adaptation design framework for urban areas that envisions and quantifies the experiential and ecological outcomes of alternative lifestyles within a future of saturated landscapes. As an integrative design tool, Salty Urbanism accommodates a variety of best management practices to be implemented over time. Tactics and techniques outlined are implemented step-wise and successively across various fronts to establish meaningful conversations among stakeholders as they reimagine and realize a prosperous way forward for the region while adapting to sea level rise and climate disruptions.  © University of Arkansas Community Design Center Urban Watershed Framework Plan: A Reconciliation Landscape for Conway / University of Arkansas Community Design CenterIn rapidly growing Conway, Arkansas, the Urban Watershed Framework Plan recalibrates urban infrastructure according to ideals espoused in the concepts of ecosystem services. The plan envisions highly livable green spaces developed through low-tech but high-concept enhancements to investments already servicing Conway's growth. Employing green infrastructure to deliver ecosystem services, the plan includes a portfolio of retrofits that complement conventional infrastructure that can be transferred to any urban watershed. As ecological problems are often social problems, property owners and low-income residents downstream often suffer the most economic damage. To combat this, the plan bolsters social equity by providing a number of suggested policy revisions and holistic solutions that benefit all interests. News and project descriptions via the AIA.  This posting includes an audio/video/photo media file: Download Now |
| COLABS Panamerican School of Porto Alegre / Santini e Rocha Arquitetos Posted: 12 Jan 2018 05:00 AM PST  © Marcelo Donadussi
.jpg?1510837275 "© Marcelo Donadussi") © Marcelo Donadussi Text description provided by the architects. The Panamerican School of Porto Alegre is an international school with approximately 400 students. In recent years, with a prospect of increasing enrollments, a master plan was drawn up by the North American office H2L2, a specialist in educational architecture. .jpg?1510837371 "© Marcelo Donadussi") © Marcelo Donadussi Santini and Rocha Arquitetos was contracted to develop the architectural projects and adapt the master plan for effective use. Several architectural projects of renovation and expansion were carried out. The COLABS project is one of these projects, contemplating classrooms, open and covered areas and a terrace. .jpg?1510837411 "© Marcelo Donadussi") © Marcelo Donadussi In this project, 3 large classrooms with laboratory format were constructed, each room with approximately 100.00 m2. These rooms allow more than one class to develop activities and more than one learning model to be developed. This footage is roughly double the amount of footage normally used in classrooms in Brazil.  Section The classrooms were designed according to the example of international schools. One of the classrooms is called the Makerspace, where practical activities are developed by the students, .jpg?1510837322 "© Marcelo Donadussi") © Marcelo Donadussi such as robot assembly, printing of prototypes in 3D printer and other projects developed by them. The use of all available technology is encouraged. In addition to the classrooms, an open and covered area was built at the entrance of the new building and a rooftop with greenery. This terrace, called a rooftop, allows a rest and leisure area to be offered. Groups of students gather to talk and study outdoors. .jpg?1510837422 "© Marcelo Donadussi") © Marcelo Donadussi The structure of the building is made of reinforced concrete with pre-shaped trellised flat slabs. On the last floor was built a volume in metal structure and light steel frame closures to reduce the weight of the structure. As sustainability measures, in addition to the green terrace, brises were used to reduce the solar incidence on the west façade and used heat exchangers in the classrooms, which help to reduce the energy consumption of air conditioners. .jpg?1510837288 "© Marcelo Donadussi") © Marcelo Donadussi  This posting includes an audio/video/photo media file: Download Now |
| Kengo Kuma & Associates Reveal Plans for New Aquatics Centre on Copenhagen's Waterfront Posted: 12 Jan 2018 04:00 AM PST  Courtesy of Kengo Kuma & Associates Kengo Kuma & Associates, led by Yuki Ikeguchi partner in charge, have recently won a competition to design a new waterfront cultural centre as part of the masterplan for Copenhagen's Paper Island. The unique cone shaped form will combine facilities for sports associations, harbour baths and an indoor/outdoor pool along the edge of the main canal. In a press release from Copenhagen City they praised the project on the connection created between land and sea, fulfilling Copenhagen's vision of a new addition to Paper Island. Kengo Kuma & Associates' proposal was up against strong competition from BIG, 3XN Architects, AART Archtitects + Cubo Arkitekter and ALA Architects + Studio Octopi.  Courtesy of Kengo Kuma & Associates Water has been incredibly important in the development of Copenhagen's history, culture and urban life. Recognised by Kengo Kuma and Associates, the new Water Front Cultural Centre will celebrate water through its different forms: steam, flow and the reflection of light and shadow. Each of the indoor pools will be defined by the exaggerated scale of the space above, corresponding to the separate pyramid shaped roofs. Between the coned forms, a valley will be created in which an open-air pool will pass through. The pyramid forms were a very deliberate choice by Kengo Kuma and Associates to work with the roof profile of Christianholm without mimicking it. However, unlike the rest of the masterplan, the Water Front Culture House will be multidirectional with no single front, allowing it to be accessible from various directions.  Courtesy of Kengo Kuma & Associates  Courtesy of Kengo Kuma & Associates The design will take full advantage of the prominent corner site in the masterplan; terraced pools will cascade down the waterfront to blur the edge of the land for an expansive and continuous perception of the water. Outside, an urban experience is enabled through the open public areas unified and defined by the water. Shadow and light will be a key part of the expression of the pools as each of the pyramid forms will have a skylight at the top for a dramatic play of light and shadow reflecting off the water. The haptic texture of the interior and exterior will be further exaggerated by the use of brick and the warm, natural earthy tones that will relate to the traditional Danish crafts. The Waterfornt Culture House maintains Kengo Kuma's philosophy for integrating natural elements into the architecture and engaging with the environment. Recently he spoke to PLANE – SITE about feeling the energy of the site to create buildings that are sensitive to materials, time and vernacular techniques which is featured in their latest video here. .jpg?1515770191 "Courtesy of Luxigon") Courtesy of Luxigon  Courtesy of Kengo Kuma & Associates
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| Posted: 12 Jan 2018 03:00 AM PST  © Alejandro Souza
 © Alejandro Souza Text description provided by the architects. This project was developed for a woman, young, audacious and independent, we approach the subject of the house from the current perspective with reference to the spaces with which daily life is developed in the sway of the úrbanita.  Axonometric Usually integration is sought with the immediate environment, however in this specific case it was decided to deny the immediate environment to generate the desired conditions within the project. Create a separate context for this project, in Rem Koolhaas's words "Fuck the context".  © Alejandro Souza The upper floor is enclaustrated from the street, a connecting avenue and exponentially noisy, leaving the views towards the interior of the land by means of wide openings directed towards the garden and the horizon marked by the mountains of the south, the main bedroom is linked directly to the void, but maintains its privacy by means of independent rotating screens that open or close as desired.  Floor Plan It has been contemplated the gradual growth according to the needs that the owner is acquiring, its approach is based for its development throughout the life, thinking in the future the construction was established as near to the center of the lot, to favor the next annexes so much To the front as to its sides and back.  © Alejandro Souza The sophisticated and well-worked volume of the upper part contrasted with the quasi-artisanal surface of the walls of apparent concrete and the polished cement of the lower part, while linking both volumes with the diffuse and phantasmagoric figure that gives us the Vaporized glass that contains the stairs, thus generating the contrast and balance between the three volumes.  © Alejandro Souza A large plant is established covering as much as possible the width of the land, leaving a free border for access to the back garden, on the ground floor generates a large isotropic space that connects visually from the void to the main bedroom. The plan is released to the maximum without leaving aside the privacy of the intimate areas like the study and the rooms.  This posting includes an audio/video/photo media file: Download Now |
| Tatiana Bilbao: “Architecture Should Benefit Every Single Human Being on This Planet” Posted: 12 Jan 2018 01:30 AM PST  House in Ajijic, Jalostitlán, Mexico, 2010. Image © Iwan Baan As part of a generation of designers that have, in recent years, put Mexico on the map, Tatiana Bilbao is an architect that is increasingly part of the profession's global consciousness. But, while some Mexican architects have made their mark with spectacular architecture following the international trend of "iconic" architecture, Bilbao opted instead for a more people-focused approach. In this interview, the latest in Vladimir Belogolovsky's "City of Ideas" series, Bilbao explains how she got into this type of community-building architecture, her thoughts on architectural form, and her ambitions for the future. Vladimir Belogolovsky: The more I talk to architects of your generation or my generation, the more it becomes apparent that architecture has absolutely no boundaries. In other words, architecture is not just about buildings. More and more, architecture is about building communities. Tatiana Bilbao: Absolutely. For me, that is the most important part of architecture. Architecture is not about building a building; architecture is about building a community.  Culiacán Botanical Garden, Mexico, 2012. Image Courtesy of Jardín Botánico de Culiacán VB: Was architecture something you were attracted to from childhood? TB: Yes, since I was born, I think. [Laughs.] My father says I have it in my blood and I think it is true. My whole family are architects. My grandfather was an architect. Jose Luis Benlliure was my uncle. I think all of my cousins are architects. And my office, literally is my family business—my sister Catia Bilbao and my cousin Juan Pablo Benlliure are my office managers. VB: So you really had no choice but to become an architect, right? TB: Well, I resisted for a very short period of time. I was trying to be a rebel. So when I was 18 I entertained the idea of becoming a biologist. Then I went to Italy to study industrial design for a year. My roommate there studied architecture, so I ended up helping her with all of her projects. When I came back to Mexico I knew what I wanted to study.  House in Ajijic, Jalostitlán, Mexico, 2010. Image © Iwan Baan VB: You started your firm with other partners, including Fernando Romero. Could you talk about those early days? TB: We started our firm in 1998, right after my graduation. It was an interesting and important moment here in Mexico. It was the time when the economy suddenly took off. Before that, there was one financial crisis after another, several devaluations... In the 80s and 90s, it was impossible for architecture to emerge. In fact, it was hard to survive as an architect back then. This was the generation of Alberto Kalach and Enrique Norten. But by the time our generation was out of school the economy stabilized and Mexico emerged as a global player. It was the time when architecture became a trend globally (Guggenheim Bilbao was built). My generation capitalized on these changes. We were active and wanted to be independent. We didn't know how we were going to do our architecture but the important part was to be a part of the global scene and to be open to all kinds of happenings in architecture, art, and culture in general. We organized exhibitions, invited important curators and architects to give talks and bring their exhibitions; we designed utopian houses for artists. We explored so many possibilities on so many fronts. That experience allowed me to understand what I really wanted to do in architecture. Then I realized that I wanted to do something completely different from my partners. That was 2004; I started my independent practice with one fundamental idea: architecture should benefit every single human being on this planet. The benefit can't be abstract; it has to be about the individual. I believe that architecture has to have an impact on a broad level and that's why it needs to be thought of and conceived by many different people, not just the architects. Everyone should be involved—sociologists, philosophers, politicians, economists, designers, architects...  Social Housing Prototype, 2015. Image Courtesy of Tatiana Bilbao VB: Your office is located in the heart of Mexico City, a bustling metropolis but most of your work is elsewhere. Why is that? TB: I love this question and I get asked this a lot. I was born in Mexico City. I love the city. I think it is one of the best cities in the whole world. You are right, we are a bustling metropolis and our office is right in the middle of it all on Paseo de la Reforma. I grew up very close from here. I wanted to be right here and that is the reason why we have a lot of glass here in the office. I want people who work here to be aware of the city and the reality that takes place around us every day. There are all kinds of celebrations, demonstrations, and cultural exchanges that take place right in front of our office. We need to be a part of the street. We need to be in this belly button. Half of the people here are foreigners; that's important to me. You asked me why we don't have work in Mexico City. I don't know and it is not because we are avoiding local projects. Currently we are working on about 20 projects, about half are in Mexico but not a single one is in Mexico City. But I always look forward to working on projects right here! VB: You built projects outside Mexico, including in China and you travel and lecture internationally all the time. Where do you think you felt most energy and drive for innovation? TB: Maybe it is a contradiction but I feel like the most innovative projects are done in Mexico, all over the country. What I like most is the innovation in thinking about how architecture is done. Perhaps the innovation is not in forms and materials; for those aspects, you may need to go to other places. But in general, Mexico is incredibly innovative. There are forward-looking projects that are being done in Mexico City, Guadalajara, Monterrey, Tijuana, and other places. There is a lot of interest in innovation, particularly on the part of my generation and younger architects who are addressing issues of architecture that are sensitive to people. We are witnessing an interesting intersection of different interests in architecture—people I went to school with, we were on the tail of the generation that was fascinated by spectacle, whereas now the shift is towards social aspects; this mix is generating very interesting results.  Bioinnova, Culiacán Rosales, Mexico, 2012. Image © Iwan Baan VB: You just mentioned the spectacle. Are you still interested in that kind of architecture? TB: Not really. [Laughs.] I was trained at a time when Mexico was on the verge of becoming global. We did what everyone was doing—the blobs. We were all preoccupied by the forms we could do and how we could amaze the world by building them. That's how I can describe that moment. But little by little, I understood what architecture was really about, which was—people. Then everything flipped. No doubt, architecture's aesthetics is very important. Beauty is important because it elevates our spirit. When your spirit is high, you strive to become a better person, of course. But to be spectacular and to be beautiful are not the same things. To me, there is a difference.  Housing in Ciudad Acuña, Mexico, 2015. Image © Jaime Navarro VB: You rarely build in Mexico City. Do you teach here? TB: No, I teach at Yale. My students are in the US. I used to teach here in the beginning but later I was invited to teach abroad. Well, I think it is very important for me to teach abroad as a Mexican. There is very little knowledge about Mexico in the world and even in the US. We know so much more about America than Americans know about us. Mexican architecture has a very important legacy. It is important for me to make a statement about that and teach others about who we are. VB: What is your particular way of teaching? TB: I like to provoke, I like to extract ideas out of students. I like to explore many possibilities. I don't direct students, I push them. It is often apparent that students like to do what they are told. But it should be the other way around. People should think and propose new ideas that would make our lives better. There are so many concrete ways to go about that. Utopia has died.  Casa Ventura, San Pedro Garza Garcia, Mexico, 2011. Image © Rory Gardiner VB: Utopia is not relevant. TB: Of course, not! We should not project the future, we should imagine the future. Otherwise, we are not going to get to where we want. Every semester is different. But I always provoke my students. For example, last semester I selected a site for them right here in Mexico City and I challenged them to design the place the way they see it in 2050. I asked them to think about the look of the place and architecture then, the role of public space, how community spaces can be reinterpreted, how social housing can be not just designed but reimagined, what will happen to parking garages, and so on. I like these provocations. We, architects, have to act with reality and with what we have today; but in the school, we don't. That's why I push them. VB: What is your main concern in architecture? TB: The first most important thing for a human being is to be healthy. The second—is to have a shelter. My concern is that architecture needs to be relevant. What can architects do? I think we need to understand that we cannot create the world. The world needs to be created by individuals themselves. How can we suit those individuals? My answer is that architects need to build a kind of architecture that would become a platform for people to create their own spaces and lives.  Culiacán Botanical Garden, Mexico, 2012. Image Courtesy of Jardín Botánico de Culiacán VB: This is a very admirable and ambitious goal. TB: I know! VB: If you were to describe your work in single words, what would they be? TB: I can tell you the words that I wish others would use to describe my architecture; I don't know if they do. But I wish my architecture to be human, social, individual, communal, and beautiful. VB: You said, "Architecture should be amazing and surprising, but it does not have to be geometrically challenging." Could you elaborate on this point? TB: It all depends on the context. In my context here in Mexico, it is very difficult to challenge architecture geometrically and formally.  Housing in Ciudad Acuña, Mexico, 2015. Image © Jaime Navarro VB: But you are building your architecture all over the world, including China. They can do anything! TB: [Laughs.] Anything! But I realized that it is not necessary. I come from Mexico and I know that you can do really beautiful, stunning architecture without challenging gravity, without reinventing the geometry of basic forms. I believe in doing architecture in a very direct and pure way; it is much easier to communicate my message that way. When architecture is direct, it is easy for everyone to understand it. Architecture needs to include other people; we, architects cannot do architecture by just thinking about ourselves. VB: You said, "I believe that architecture is not a profession. I am an architect. It's like being an artist. You don't work as an artist, you are an artist." Would you say that you are not just an architect? There are other ambitions, right? TB: No. I don't think so. I am an architect because I need to redefine what architecture is. As an architect, I need to work with many other professionals to develop and build architecture. Sure, I am against the idea that architects would just spend all their time at their desks. So I am doing many different things but I am still an architect.  Funeraria Tangassi, San Luis Potosi, Mexico, 2011. Image © Iwan Baan VB: If you could meet any one architect from any period in history for a conversation, who would that be? TB: There are so many! You mentioned earlier Piranesi; of course, I would love to talk to him. I would love to talk to Mexican architect and urbanist Mario Pani who built the apartment building where I live with my family. But if I had to pick just one architect that would be Lina Bo Bardi. VB: What question would you ask her? TB: I would ask her about her biggest motivation for becoming an architect and what was the driving force behind her work. There was such depth in her work and thoughts. I read a lot about her and experienced many of her major works before she was rediscovered around the time of her centennial a few years ago. What is particularly important is that she was a woman and foreigner in such a male-dominated society and profession, especially back then. VB: What is your motto? TB: People first.  Culiacán Botanical Garden, Mexico, 2012. Image Courtesy of Jardín Botánico de Culiacán VLADIMIR BELOGOLOVSKY is the founder of the New York-based non-profit Curatorial Project. Trained as an architect at Cooper Union in New York, he has written five books, including Conversations with Architects in the Age of Celebrity (DOM, 2015), Harry Seidler: LIFEWORK (Rizzoli, 2014), and Soviet Modernism: 1955-1985 (TATLIN, 2010). Among his numerous exhibitions: Anthony Ames: Object-Type Landscapes at Casa Curutchet, La Plata, Argentina (2015); Colombia: Transformed (American Tour, 2013-15); Harry Seidler: Painting Toward Architecture (world tour since 2012); and Chess Game for Russian Pavilion at the 11th Venice Architecture Biennale (2008). Belogolovsky is the American correspondent for Berlin-based architectural journal SPEECH and he has lectured at universities and museums in more than 20 countries. Belogolovsky's column, City of Ideas, introduces ArchDaily's readers to his latest and ongoing conversations with the most innovative architects from around the world. These intimate discussions are a part of the curator's upcoming exhibition with the same title which premiered at the University of Sydney in June 2016. The City of Ideas exhibition will travel to venues around the world to explore ever-evolving content and design.  This posting includes an audio/video/photo media file: Download Now |
| Apartment Refurbishment / Aboim Inglez Arquitectos Posted: 12 Jan 2018 01:00 AM PST  © Ricardo Gonçalves
 © Ricardo Gonçalves Text description provided by the architects. The existing apartment, of unusual dimensions – thirty three metres long by seven metres wide – presented an underuse of its spaces and several features needed to be addressed adequately, such as a fifteen metre long corridor which was gloomy, poor quality decorative ceramic tile panelling in numerous areas and uncomfortable, outdated bathrooms. But a wood pavement unifying the whole apartment showed promise and was used as the foundation stone to the project's concept: the subversion of the traditional separation of social and private areas by precise spatial changes, allowing each of its components to flow into each other.  © Ricardo Gonçalves The intervention thus rebalanced the hierarchy of the existing spaces. The living areas were left to face the street front, bedrooms were placed in the middle of the plan, and dining room and kitchen can now be found facing the inner courtyard. The dining room gained a verandah and the living room and kitchen were made to connect visually, with the latter left somewhat hidden in order not to be perceived from where it shouldn't. Some of the wood pavements were recovered, redesigned where necessary and replaced where missing. Light was allowed in where it was needed and some doors were removed to reinforce the permeable spatial character that we aimed for. The connecting corridor summarizes the subtle but complete transformation of the apartment's architecture: a length-long bench was installed adding a dwelling quality to what was formerly an exclusively functional space.  © Ricardo Gonçalves  Floor Plan  © Ricardo Gonçalves It is very pleasing to visit our clients over dinner and watch the neighbouring children circulate through the house, from the inner courtyard to the living rooms. One senses that the conditions have been created for life to take place in.  © Ricardo Gonçalves  This posting includes an audio/video/photo media file: Download Now |
| Low-Budget Urban Garden Uses Local Materials to Bring Quito's Community Together Posted: 12 Jan 2018 12:00 AM PST  Cortesía de Natura Futura Arquitectura The social design from Natura Futura Arquitectura for a greenhouse in the warm subtropical climate of Nayón, Ecuador, the proposal approaches the use of local material resources in the construction of low-budget productive structures for the development of the collective. The project, materialized with bamboo, wood and greenhouse plastic, is based on the basic geometrical figure of the triangle, proposing sectors with different levels of illumination for different types of farming.  Cortesía de Natura Futura Arquitectura From the architects. 'Huertomanias' is a space to motivate the scope of the autonomy of persons who have had difficulties going back the labor market because of stigmas associated with mental health problems. It is an urban garden, that promotes work and income, within a framework of respect for the subjectivity and a production model that defies the typical models in our society. It offers organic and artisanal products of quality. The requirement was a greenhouse of low budget that could help generate crops that must be protected from excessive moisture or insects, so as to be able to broaden the spectrum of intervention.  Cortesía de Natura Futura Arquitectura  Cortesía de Natura Futura Arquitectura Located in Nayón, a parish of 15,000 inhabitants, which has the particularity to have a warm subtropical climate that favors the crops; this takes advantage of the population with the help of greenhouses work with various species of both consumption and decorative, making the sale of one of the characteristics of the population, which is also known as the Garden of Quito.  Cortesía de Natura Futura Arquitectura The triangle of the vegetables can be seen in the distance as a ghost in the middle of the mountain; lightweight, compact, transparent. Built with local materials, bamboo, wood, plastic greenhouse, taking as reference a basic geometric figure (triangle), its shape allows for multiple layers of light and shade during the day, categorizing by sector and levels different types of crops of seedlings that will feed after the orchards of the organization.  Cortesía de Natura Futura Arquitectura In the process of building each of the partners was gaining skills that enabled them to conduct the work; transporting materials, learn how to use a power saw, drill, hardware, identify tools and techniques. Learn how to work in a team.  Cortesía de Natura Futura Arquitectura The project allows you to generate synergies that can rescue self-love and allow for the development of various potentialities; recognized skilled in tasks of responsibility and step in order to achieve autonomy in economic matters, achieving a collective productivity.  Planta / Diagrama. Image Cortesía de Natura Futura Arquitectura  Corte. Image Cortesía de Natura Futura Arquitectura  Diagrama Solar. Image Cortesía de Natura Futura Arquitectura Architects: Natura Futura Arquitectura  This posting includes an audio/video/photo media file: Download Now |
| '220 Mini Metros' Illustrates Metro and Train Networks from Around the World Posted: 11 Jan 2018 10:00 PM PST
American graphic designer Peter Dovak is passionate about urban transportation. He has creates colorful designs that represent transit systems in a much more instructive way so that people can interpret them more easily. One of his last projects, called 220 Mini Metros, was based on metro and light rail networks from 220 cities of the world.
 Click to enlarge. "220 Mini Metros". Image © Peter Dovak The selections were made using visual characteristic criteria that made it possible to represent each of the networks with a visual identity that allowed them to be compared to one another, for example, the number of lines and the coverage between the systems. Among the 220 chosen systems there are cities that stand out for the sheer size of their metro networks such as Beijing, New York, Paris, and Seoul. Check out the 220 designs in more detail the project’s official site.
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| House in Altea Hills / RGB arquitectos Posted: 11 Jan 2018 09:00 PM PST  © Mayte Piera
 © Mayte Piera Text description provided by the architects. The idea of the house comes from the concept of “catching” the landscape. So, a container frame emerges from the pool and wraps the house. This framework, due to the topography of the mountain where it is located and to create more privacy, becomes a very dynamic and continuous element, wich takes different forms as it adapts to the circumstances. Emerges from the pool, as a triangle for privacy, and reaches the deck and descends on the opposite side of the pool. The trajectory that draws, is reinforced by the linear use of artificial lighting.  © Mayte Piera Willing to achieve a whole integration with the environment the house deeply-rooted with the ground and the surroundings.  1st Floor Plan The view at the head of the house is the valley that lay to the sea. The open space giving a panoramic view of the surroundings.  © Mayte Piera The impression of the lack of limits between the exterior and interior of the house is mainly due to the massive glass windows and the height of the ceilings. There is a smooth and fluent connection between the internal rooms encouraged by continuity of the materials between rooms.  © Mayte Piera  This posting includes an audio/video/photo media file: Download Now |
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