Arch Daily |
- Bus Station at Vilnius International Airport / Vilniaus architektūros studija
- Sangkep / IBUKU
- PKM+ / ODETO.A
- Fitzroy Crossing Renal Hostel / iredale pedersen hook architects
- The People’s Chapel / Poiesis Architects
- Crystalscape / Moriyuki Ochiai Architects
- BIG Reveals Updated Vision for Smithsonian Campus Master Plan Scheme
- Centre de Services Le Bonnallie / Anne Carrier architecture
- Foster + Partners Designs Lakeside Headquarters for the PGA Tour
- JC House Refurbishment / Alventosa Morell Arquitectes
- Zaha Hadid Architects Unveil Mixed-Use Public Square Scheme for Vauxhall Cross Island in London
- Prairie House / NatureHumaine
- The Renovation of Louis Kahn's Yale University Art Center: A Significant Moment for Architectural Preservation
- House in São João de Ovar / Nelson Resende
- Spotlight: Thom Mayne
- Perkins+Will is Creating a Whole New World for the Suzhou Science & Technology Museum
| Bus Station at Vilnius International Airport / Vilniaus architektūros studija Posted: 19 Jan 2018 09:00 PM PST  © Leonas Garbačauskas
 © Leonas Garbačauskas Text description provided by the architects. According to the need of parking spaces and shuttle bus stop at Vilnius international airport, more than 150 additional car parking spaces and 11 bus parking spaces were designed, including five bus parking spaces under this new shed. Vilnius international airport terminal was originally designed during the period of Soviet occupation of Lithuania, by architects Dmitrij Burdin and Genadij Jelkin and built in 1954 by war prisoners. Later the terminal building was reconstructed several times and some ells, including a new terminal and car ramp, were built.  © Leonas Garbačauskas The place for the new bus stop was chosen according to the customer approved site transport scheme, so the bus stop shed ended up situated on the left side wing of the terminal building and one end of it appears to be almost attached to the car ramp. In order to avoid domination or false striving to adapt to existing different architecture terminal buildings, minimalistic form and neutral raw concrete material were chosen.  © Leonas Garbačauskas  Floor Plan  © Leonas Garbačauskas Its sculptural form with all of its plan elements is compositionally orientated diagonally - towards bus arriving direction. Its rear wall is built to separate public transport and VIP zones and lets in some natural sunlight from the southeast side at daytime through narrow vertical openings. At nighttime cold concrete surfaces of the inner shell of the bus, stop shed is highlighted by the warm light of diagonally orientated luminaries.  © Leonas Garbačauskas  This posting includes an audio/video/photo media file: Download Now |
| Posted: 19 Jan 2018 06:00 PM PST .jpg?1516385068 "Courtesy of IBUKU") Courtesy of IBUKU
.jpg?1516385082 "Courtesy of IBUKU") Courtesy of IBUKU Text description provided by the architects. Sangkep is a multipurpose event space at the Green School, which hosts presentations and events, with a capacity of about 300 people. I Gusti Ngurah Ketut Putra Wiarsa, architect and bamboo model specialist in IBUKU, points out that Sangkep impresses by its structural boldness. Its arches reach large spans, while being a lightweight structure visually. These arches reach a span of 15 meters, with 4 points of support, in a structural reasoning similar to the Bamboo Bridge. Between the 4 support points there are 19-20 meters (distant supports) and 9-10 meters (close supports). An oval stone ring receives the supports, also being used as a grandstand.  Section AA  Floor Plan  Section BB To achieve the span and reduce costs, thinner and shorter bamboos were used per section, and tied together, rather than one large pole. With this technique, the arches are constructed using several segments of bamboo, allowing greater ease in reaching the desired curvatures. .jpg?1516384838 "Courtesy of IBUKU") Courtesy of IBUKU From the inside, it is possible to have total contact with the surroundings, since the four faces are completely open. Even so, there is total protection against climatic events such as rains and winds, so common in the region. The tear at the highest point of the cover, with translucent tissue, allows the entrance of abundant zenithal light. About 20 models were necessary before arriving at the ideal form, and its construction lasted three months. .jpg?1516384776 "Model. Image Courtesy of IBUKU") Model. Image Courtesy of IBUKU  This posting includes an audio/video/photo media file: Download Now |
| Posted: 19 Jan 2018 02:00 PM PST  © Kyungsub Shin
 © Kyungsub Shin  First Level Plan Text description provided by the architects. First, in importance is client wanted to remain some parts of existing house instead construct a new building. The existing house from 1968 had lots of issued: unnecessary spaces (ex. excessive floor heating plate, disproportionate ceiling structure, inefficient routes for facilities, and etc.), insufficient space height, deficient insulation, and deteriorated façade.  © Kyungsub Shin We focused on these issues and actively redesigned on it for this house and gallery renovation. Our approach is to place all facilities outside of structure rather than following conventional way. It had multiple advantages:  Concept Diagram 2) We were able to improve current insufficient insulation through new outside insulation.  © Kyungsub Shin 3) We were able to achieve new appearance for the building, as new skin surrounds the building to supplement and enhance uneven border of the façade and the deteriorated façade.  © Kyungsub Shin  This posting includes an audio/video/photo media file: Download Now |
| Fitzroy Crossing Renal Hostel / iredale pedersen hook architects Posted: 19 Jan 2018 12:00 PM PST  © Peter Bennetts
 © Peter Bennetts Text description provided by the architects. Background Indigenous Australians make up 3% of Australia's population and have survived the trauma of Colonisation and are proudly keeping their languages and Culture alive in urban, regional and remote areas.  © Peter Bennetts These communities face major socio-economic challenges as a result of 200 years of European governance, including multi-generational unemployment, alcoholism, poor literacy, poor nutrition and poor health outcomes including obesity, diabetes, and heart disease. In some ways these kind of challenges could be thought of as 4th World Poverty- that of a stressed Nation struggling to exist within a dominant first world Nation.  © Peter Bennetts The remote town of Fitzroy Crossing (population 1,144) was one of the last frontiers of Colonial development. The town is 2,675km by road from the State capital Perth, and 400km to the nearest regional town of Broome.  Site Plan The town experiences extreme climatic events; during the "dry season" strong desert winds bring dust storms and bush fires; in the "wet season" the sub-tropical monsoon brings high humidity and heat, with tropical cyclones and storms causing the Fitzroy River to swell- turning the town into an island for periods of up to 2 weeks. Like much of the north of Australia the town is also exposed to plagues of insects, including mosquitoes that carry Ross River Virus and Murray River Encephalitis.  © Peter Bennetts Located on Bunuba Country on a ford over the ancient Fitzroy River, Fitzroy Crossing is the meeting place of 4 Aboriginal Language Groups- the Traditional Owners- the river and hill people- the Bunuba, the planes people- the Nyigina, the eastern river people- the Goodiyandi, and the Walmajari people of the Great Sandy Desert. These groups live in small cluster villages that make up the town- and it is within the Community of Junjuwa that the Renal Hostel is located.  © Peter Bennetts Project Description The purpose of this facility is to provide a place to live for Aboriginal people with "end stage Renal Disease"- allowing them to stay close to their family and community while receiving Hemodialysis for 2.5-4.5 hours, 3 times a week. It is expected that most people will only live for about 3 years making this facility a type of palliative care facility- but without the formal medical spaces.  © Peter Bennetts Prior to the establishment of this accommodation facility and the associated "Renal Chairs" in the nearby Hospital, people had the choice of moving to 2,500 km Perth – and thus being separated from their family and community or simply staying at their community and dying. Sadly, the trauma of being separated from their kin led many to choose the stay and die option.  © Peter Bennetts The facility consists of 13 rooms for residents, distributed over 6 small "houses" accommodating 19 people. Each room is a 1 or 2 bedroom space, with a wheelchair accessible ensuite, tea preparation bench and insect screened verandah. The residents' meals and cleaning of linen are performed by the facility staff in the communal amenity building. The houses are provided with a front porch that allows for public engagement, and the rear verandah provides a more private area, that is secured from insects and intruders at night.  Sketch 4 The residents will be from outlying communities and will be able to look after themselves in all other ways- ie. they would not qualify as Aged Care Residents. The site has been planned to reflect the 4 major language groups in town; with the site planning, paths and landscape species selection referencing "bush tucker", medicine and iconic plants from their homelands.  © Peter Bennetts The distribution of the houses maximises the space between the dwellings and responds to the idea of "Cultural Surveillance"- the need for Aboriginal people to observe the movement of people and animals through the landscape.  Floor Plans Other Culturally sustainable design features include: multiple paths of travel to support "avoidance" relationships, view corridors into the landscape, language specific landscape species selection, support for outdoor cooking and fire use, and addressing mortuary practices.  © Peter Bennetts The spaces between the houses allow people from differing language groups to find their own external spaces under trees – responding to the request to provide separate spaces for people from different language groups. The amenity building partially screens the houses from the main street providing access control, kitchen, staff and community laundry facilities, communal dining and activity spaces, offices and meeting rooms, and 2 staff accommodation units.  © Peter Bennetts The amenity building is broken into 2 pavilions, separated by a breezeway space that functions as a "welcome space" and secondary activity area. Aboriginal people in this region have expressed a strong desire for outdoor living- thus the core internal spaces support the outdoor, verandah based activity areas, which in turn support the external zones where the lighting of fires for gatherings or cooking bush meats can occur.  © Peter Bennetts Many of these residents are Elders in the community and our client group required a place of dignity that people could come and interact with their family members. Due to the nature of the Renal disease they have very low energy levels and their need to dialyse regularly, the residents capacity for trips back to their community and homelands is limited- hence the need for the centre to welcome visitors. Materiality Due to the remote location and limited access to skilled trades for construction and maintenance the regional construction type is concrete slab on ground, with steel frames, Colorbond Steel and painted fibre cement cladding. Technologies are kept as simple as possible.  © Peter Bennetts These humble materials are shaped to respond to the forms of a cottage or a civic building, with their simple forms being articulated by a soaring roof- with increased volume to reduce radiant heat loads and to capture cooling winds during favourable seasons. When the weather becomes harsh people can move inside to spaces cooled by DX Air Conditioner systems.  Elevation A critical design feature is to provide mosquito protection for the residents and staff. All sleeping spaces and the external living sleeping spaces are protected with a woven stainless steel insect screen that doubles as a security screen to minimise risks of mosquito borne illnesses.  © Peter Bennetts Water heating is via solar and heat pump hot water systems, water consumption is minimised via low flow fixtures. As the facility is on a local bore the water supply is treated on site via an ultraviolet water treatment plant to remove pathogens.  This posting includes an audio/video/photo media file: Download Now |
| The People’s Chapel / Poiesis Architects Posted: 19 Jan 2018 11:00 AM PST  © Khoo Guo Jie (Studio Periphery)
 © Roland Tan Yeow Teck Text description provided by the architects. Emmanuel @ Everitt is a small church sitting on a 200 sqm sliver of land in a mature landed residential estate. The original church occupied a single storey corner terrace house built in the 1940s. Plans for rebuilding came about after heavy downpour in October 2010 caused serious damage, rendering it unsafe for occupation.  © Khoo Guo Jie (Studio Periphery) The unique setting of a religious building in a residential area caused concern to the planning authority. A protracted 4-year appeal process eventually rezoned the residential site as Place of Worship in April 2015, with the total floor area capped at original building footprint. Completed in September 2017, rebuilding this church took 7 years.  © Khoo Guo Jie (Studio Periphery) The church consists of 3 key areas- The Sanctuary, Fellowship Area and the Church Office/Pantry. The Sanctuary seats 60 people.  © Khoo Guo Jie (Studio Periphery) While being elevated for flood protection, a singular off-form concrete volume was conceived, in line with the scale and height of the neighbourhood, creating a sensitive insertion into its existing fabric. Sky-lights punctuate the spaces, an allusion to the church as the Light of The World. Biblical names of God – Jesus, Christ, Saviour are strategically positioned within a naturally lit stairwell connecting 2 floors.  Sections A lush garden terrace on the roof required delicately balances the austere grey of the concrete volume. 3 large fibreglass planter boxes, each planted with 3 numbers of Caesalpinia ferrea trees alludes to the symbolism of the Trinitarian God – Father, Son and Holy Spirit.  © Khoo Guo Jie (Studio Periphery) Emmanuel @ Everitt aspires to foster community spirit and encourage social sustainability by blending well into the neighbourhood, making it more than just a place of worship. Unlike the surrounding gated houses, doing away with a physical gate and party walls that slope back truly creates an open and welcoming environment for the people.  © Khoo Guo Jie (Studio Periphery) Since its opening, neighbours have been dropping by for coffee and conversations, bringing back a "kampong" spirit, a Malay term for village or neighbourly camaraderie.  © Khoo Guo Jie (Studio Periphery)  This posting includes an audio/video/photo media file: Download Now |
| Crystalscape / Moriyuki Ochiai Architects Posted: 19 Jan 2018 09:00 AM PST  © Fumio Araki
 © Fumio Araki Text description provided by the architects. We performed the interior design for a beauty salon. Deliverables included a space exuding the radiance associated with beautiful, vibrant and shiny hair brimming with vitality. Therefore, we endeavored to create a space that would envelop the body in such radiance by making the entire ceiling into a luminous crystal symbolizing the ideal of resplendent hair.  © Fumio Araki Metallic waves(Please refer to below for more information), representing the bright, aerial, gracious way in which hair flows, are intricately weaved into a white matrix of geometric patterns (a lattice structure featuring a signature color gradation of white and wooden tones) to produce a mystical luminous crystal from which a subdued light scatters as it bounces off the creases in the metal.  © Fumio Araki Abundant expressivity is imparted to the crystal of light by the overlapping of the white lattice and the metal wave, with the former gushing through the space like sparkling whitewater, and the latter producing a current filled with vibrant vitality.  © Fumio Araki Structurally, the white lattice compound consists of three dimensional lattice objects inserted between layers of planar grid objects, which are arranged to mutually interact, thereby further diversifying one's experience of the space's depth and expanse. The light reflected off the metal waves and penetrating the white lattice produces intricate and constantly evolving expressions throughout the entire space that enables patrons to experience an ever-changing atmosphere as this layered structure will be perceived differently depending on their relative position and line of sight at any given time.  © Fumio Araki Furthermore, we created a space in which minute shifts in natural light can be felt throughout the day and the seasons, and the evolving landscape appreciated to the fullest, by playing with the configuration of the white lattice/metal wave compound according to each area and increasing the circumvolutions in the metal waves acting as reflectors inside the hair cutting area where natural light comes in the most.  © Fumio Araki By increasing the density of the white matrix above the central aisle, we were able to lower the height of the ceiling and break up the rhythm to create a cozy and inviting space where the body can become immersed in a hushed vibe as it passes under the white crystal covering the ceiling.  © Fumio Araki Moreover, variations in the purple and powdery silver color gradation on the walls surrounding the shampooing area confers the sparkle of life to the space.  © Fumio Araki 【 Design method- ORIGAMI,KIMONO,FUROSHIKI - Japanese spirit of Monodzukuri 】 From a single sheet of paper, which can be folded into a variety of shapes, emerged the art of Origami.  Floor Plan  This posting includes an audio/video/photo media file: Download Now |
| BIG Reveals Updated Vision for Smithsonian Campus Master Plan Scheme Posted: 19 Jan 2018 07:25 AM PST  Courtesy of BIG BIG has unveiled an updated vision for the new Campus Master Plan for the Smithsonian Institution in Washington, D.C., after taking into account over 3 years of community input and collaboration with the storied museum and research institution. The revised proposal pays particular attention to the preservation of unique character of the Enid A. Haupt Garden while still addressing the existing and future needs of the Smithsonian at one of the nation's most historically significant sites.  Courtesy of BIG Founding partner Bjarke Ingels revealed the updated plan to members of the Commission of Fine Arts (CFA) along with local leaders and residents, sharing in detail how the public feedback had resulted in the evolution of the $2 billion South Mall Campus restoration and revitalization plan. "Since our last proposal, we've been listening very closely to the public. We wanted the general feeling and fondness for the Haupt Garden to remain the same while also increasing its enjoyment and use, offering educational elements and after hour programs," said Ingels. "We also want to make more accessible some of the hidden treasures underneath the Haupt Garden – the National Museum of African Art and the Sackler Gallery – which are so well hidden that they're under-enjoyed compared to the value they represent. If we can make them more accessible, more people might be tempted to explore." .jpg?1516393483 "Courtesy of BIG") Courtesy of BIG .jpg?1516393475 "Courtesy of BIG") Courtesy of BIG Located between 7th and 12th Streets along Independence Avenue SW on the National Mall, the site includes the Smithsonian Institution Building (known as the Castle), the Arts and Industries Building, the Freer Gallery, the Hirshhorn Museum and Sculpture Garden, and the largely underground Quadrangle Building, which is home to the National Museum of African Art, the Sackler Gallery of Art and the S. Dillon Ripley Center. .jpg?1516393504 "Courtesy of BIG") Courtesy of BIG BIG's Master Plan will expand the Visitor Center and add a new Education Space beneath the garden, with access provided by peeling the edges of the landscape up. These design moves will also create clear connections between spaces and allow natural light to reach subterranean spaces. The plan will also reconfigure the entrance pavilions of the African Art Museum and the Sackler Gallery to increase their visibility. Other changes include updating mechanical systems and adding structural reinforcements to the Castle to protect against seismic activity. .jpg?1516393497 "Courtesy of BIG") Courtesy of BIG  Courtesy of BIG Several architects and community members provided public reactions to the revised plan, noting that while many of the previous concerns have been addressed, some additional work will still be need to done to ensure the project best suits the needs of all involved parties and the public. "I got the impression that BIG finds itself between conflicting interests which remain to be reconciled," commented Pascal D. Pittman, AIA, Director of Quality Assurance at the engineering firm Setty & Associates. "I thought the presentation, based on the parameters that BIG described, provided for a very elegant solution." .jpg?1516393489 "Courtesy of BIG") Courtesy of BIG Robert Young, AIA, Associate Principal at Grimshaw and long-time DC resident and architect, added, "[the Smithsonian's founding donor] James Smithson's call for 'an establishment for the increase and diffusion of knowledge among men' is noble and grand, yet, like our beloved Mall, has not been able to fulfill its goals as it - and the population it serves - continually grows and changes. As the great facilities of the Smithsonian have fallen into disrepair or reach the end of their expected lives, and the great possibilities of the 'Mall to Museum' connection have frayed, it is the visionary response by the Smithsonian leadership and BIG that will allow a continued dialogue between our fundamental rights as citizens and our aspirations as humans. The work of BIG is bold, expressive, and often radically new: yet those characteristics are supported by thoughtful research, sympathetic engagement and conceptual synthesis."  Courtesy of BIG The project will be carried out over several phases, with the first stage of the plan, the renovation of the Castle, anticipated to begin in 2021. Additional images can be found here.
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| Centre de Services Le Bonnallie / Anne Carrier architecture Posted: 19 Jan 2018 07:00 AM PST  © Stéphane Groleau
 © Stéphane Groleau Text description provided by the architects. This building is characterized by its interplay between opacity and transparency and between interior and exterior. It is very carefully integrated into its setting, following the site's topography so closely that the building appears to be sculpted from the landscape itself. The mix of materials and colours gives it character, while creating clear boundaries between different spaces.  © Stéphane Groleau Strategies for site integration and spatial organization  © Stéphane Groleau The service (kitchen) area is tucked away discreetly, while the patio and discovery space layer three strata with different geometries. The first, the storage area for sports equipment, has a functional geometry aligned with activities and the lake; the second is the patio, which adjusts to both perimeter and interstitial traffic; and the third is the roof, rising higher to open up the view of Mont Chauve; it is angled upward to better control incoming natural lighting. Not unlike a gazebo, the interior and exterior spaces are interconnected by a network of walkways comprising a catwalk, stairs, covered passageway and an outdoor gap based on the natural course of the trails.  © Stéphane Groleau  Garden Floor Plan  © Stéphane Groleau Materials: wood in every form  © Stéphane Groleau The architectural approach and the site itself dictated the use of vertical cladding echoing tree trunks in the nearby forest. The textures, materials and colours used, in harmony with tree bark, cause the building's appearance to shift with each passing hour. Crafted specifically for this project, the building's cedar cladding is applied in alternating strips—recessed, in relief, gaps. As a result, the shadows falling on the building change as the sun moves across the sky. After nightfall, the effect transforms the storage areas into gigantic lanterns. The cedar cladding is also used for rain barriers and ventilated façades in a simple but clever way, by removing or keeping the recessed portion. The building's organic configuration, in symbiosis with the site, nearby activities and views, demands that the main volumes include certain openings. Smoother and paler cedar cladding is used in these locations, evoking the contrast between skin and flesh in freshly cut fruit, enabling a coherent reading of the building.  © Stéphane Groleau First in a series of three Collectively, the projects will give the park a unique, identity-shaping architectural signature. The continuity of the approach, focused on clear architectural expression, will lead to rich, stimulating places that sustain a constant dialogue with users and the environment, in every season.  © Stéphane Groleau  This posting includes an audio/video/photo media file: Download Now |
| Foster + Partners Designs Lakeside Headquarters for the PGA Tour Posted: 19 Jan 2018 06:00 AM PST  © Foster + Partners Foster + Partners has revealed designs for the new headquarters of the PGA TOUR to be located in Ponte Vedra Beach, Florida. Located on a large freshwater lake at the TPC at Sawgrass resort, the 187,000-square-foot building will create an "uplifting and inspiring" environment for employees and visitors through its transparent walls, lush greenery and all-encompassing roof structure.  © Foster + Partners Drawing inspiration from the nearby 'Island Green' 17th hole at THE PLAYERS Stadium Course, the PGA TOUR headquarters is designed to take advantage of its verdant surroundings, incorporating principles of biophilia and optimizing natural light and air. "Inspired by the lush greenery of TPC Sawgrass and the beautiful Floridian light, the new PGA TOUR headquarters is designed as an extension of its surrounding landscape," explains Nigel Dancey, Head of Studio, Foster + Partners. "As the Global Home of the PGA TOUR, it brings the organization under one roof for the first time, and signifies the progressive spirit of the TOUR."  © Foster + Partners Expansive growth of the organization of the past few decades has resulted in the expansion of its offices into multiple, disjointed buildings across Ponte Vedra Beach and St. Augustine, resulting in a work environment that is not conducive for collaboration. The new headquarters remedies this situation by bringing together employees of all areas under one single roof, clad with warm wood and featuring five sensuous curved openings to the sky. The interior spaces also reflect this openness, with flexible floorplates and non-hierarchical office arrangements. The building is separated into two enclosed bays connected by 20-foot-wide bridges to encourage random interaction and allow for informal meetings without impeding the flow of circulation. Terraces located on the far ends of the building along the atrium will also create meeting spaces and room for workers to refocus outside of their direct workspace.  © Foster + Partners The building is also aiming for high standards of environmental sustainability, targeting an anticipating LEED Gold rating. Extended overhangs over the building envelope will reduce solar gain into the building, while the five large skylights will allow natural light to penetrate the space. The roof may also be clad with a series of photovoltaic panels to support the building's energy needs. A raised floor system will provide flexibility and targeted air conditioning. In addition, site-wide recycling facilities and a 1.3 kilometer running track will contribute to employee well-being. "As we strive to reach an increasingly diverse, more global fanbase and position the PGA TOUR for future success, we must be equipped to meet the ever-changing landscape in international business, media and technology," said PGA TOUR Commissioner, Jay Monahan. "Moving forward with this beautiful new global home in Ponte Vedra Beach will allow for more creative, efficient collaboration among our staff and partners, and will set us on the right path toward achieving our goals as an organization." News via Foster + Partners.  This posting includes an audio/video/photo media file: Download Now |
| JC House Refurbishment / Alventosa Morell Arquitectes Posted: 19 Jan 2018 05:00 AM PST  © Adrià Goula
 © Adrià Goula INTRODUCTION  Site The building was very badly adapted to the land, the original topography. It was divided into two platforms separated by a retaining wall of 6 metres height. This wall generates a very important visual impact and provokes the isolation of two platforms.  © Adrià Goula The building was very badly adapted to the land, the original topography. It was divided into two platforms separated by a retaining wall of 6 metres height. This wall generates a very important visual impact and provokes the isolation of two platforms.  © Adrià Goula On the inferior level there was a garden and a swimming pool in a bad condition.  © Adrià Goula THE PROJECT’S PRIMARY GOALS  © Adrià Goula • A new terrace at the level of the original house, that changes the use of the previous narrow one.  © Adrià Goula 3.- A NEW ROUTE  © Adrià Goula On the contrary, the new space to work is a compact wooden volume, separated from the inferior level by a metallic structure. It is built with the frame System and the wooden slats of the facade provides a screen for preserving privacy, while also serving as solar protection in the summertime.  © Adrià Goula All in all, with a simple volume and the simplicity of a new connection between the different levels of the plot we have achieved the total renovation of the previous building, and also got a pleasant house to live.  This posting includes an audio/video/photo media file: Download Now |
| Zaha Hadid Architects Unveil Mixed-Use Public Square Scheme for Vauxhall Cross Island in London Posted: 19 Jan 2018 04:00 AM PST  © Slashcube Zaha Hadid Architects has unveiled the design of a new mixed-use development to be located on the Vauxhall Cross Island site adjacent to Vauxhall Station in London. Aiming toward becoming a new public square for the neighborhood, the complex will consist of two towers connected by a street level podium, offering a variety of programmatic uses including a hotel, offices, residences, retail and public amenities.  © Slashcube Located on a site bounded by Parry Street (to the south), Bondway (to the east) and Wandsworth Road / Albert Embankment (to the west and north), the complex is located within an plot identified by the London Plan as a gateway to existing transportation links and a node with the potential to accommodate high-density development. Vauxhall itself has also been the site of a number of recent important and upcoming projects, including the Stirling Prize-winning Newport Street Gallery and the nearby future Nine Elms Bridge. "The design responds to Lambeth Council's aspirations for a district centre for Vauxhall by creating a vibrant new public square adjacent to the busy rail, underground and bus interchange. The proposal also accommodates TfL's existing plans to upgrade the traffic gyratory and bus station to provide greater accessibility and safety for all," explain Zaha Hadid Architects. "This project will generate approximately 2,000 new jobs in the borough within a mixed-use design that includes a new public square, homes, offices, shops and a hotel - providing vital civic space, amenities and employment for the growing Vauxhall community."  © Slashcube  © Slashcube The Vauxhall Cross Island project will tap into this potential through four key design principles, as explained by the architects: 1. Respond to Lambeth Council's aspirations for a new district centre as set out in the Vauxhall Supplementary Planning Document (SPD) adopted in 2013. Principally through:
2. Contribute to employment and jobs in the borough The new proposal prioritise increased office and commercial space alongside a new Hilton Hotel that will be a major tenant for Vauxhall and will make a significant contribution to providing employment opportunities in the borough. The proposed scheme is estimated to create approximately 2,000 jobs across the hospitality, retail, building management and office-based sectors.  © Slashcube 3. Enable TfL's Vauxhall gyratory and bus station TfL have separate plans to build a gyratory and bus station scheme next to Vauxhall Station. Whilst the schemes are independent of each other, the delivery of TfL's proposed gyratory and bus station scheme requires land owned by VCI Property Holding to be implemented. The previously consented scheme for the site would have prevented the proposed gyratory changes. 4. Respond to the emerging Vauxhall cluster Reviewing the design of the buildings enables a scheme that will sit better within the context of the emerging Vauxhall cluster. The design works with the height of the other proposed developments in the area.  © Slashcube The architecture itself has been designed in response to these principles, creating a new public square along the highly trafficked route between Vauxhall Station and the TfL's new bus stations on Bonday. This constant flow of people will allow the square to host a full program of community events, such as markets and performances. Encircling the square, the scheme calls for a 500+ room hotel, a mix of 260 private and affordable residences, 220,000 square feet of office space and 7,000 square feet of retail and dining space.  © Slashcube While the scheme has been met with some backlash from individuals who believe the proposal is too large for the site, the developers and architects are continuing to work with the community to massage the scheme for optimal use. News via Zaha Hadid Architects.
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| Posted: 19 Jan 2018 03:00 AM PST  © Adrien Williams
 © Adrien Williams Text description provided by the architects. Following the acquisition of a single-storey house from the 1950s in St-Lambert, the client wished to expand and renovate this "Prairie house" inspired building.  © Adrien Williams The existing house is partly demolished and rebuilt by reinterpreting features in a contemporary way such as a low and elongated profile, a overhanging roof and the use of masonry and wood on the facades. The roof is covered with finished steel zinc, while facades are composed with St-Marc limestone and insertions of panels in slats of cedar. The monolithic fireplace stands out as the main element which is a continuation between the internal living spaces and the garden.  © Adrien Williams Responding to client's desire to create spacious and bright living spaces, the ground floor layout includes minimally a single bedroom adjoining a study and full bathroom. Conceived with transparency and lightness, the living spaces are surmounted by a 16-foot sloping ceiling at its highest point. In the idea of inducing a visual fluidity, the vestibule is delimited by glass panels contained within white painted steel frames.  © Adrien Williams  This posting includes an audio/video/photo media file: Download Now |
| Posted: 19 Jan 2018 01:30 AM PST  © Elizabeth Felicella, courtesy of Yale University Art Gallery This article was originally published by Common Edge as "How the Restoration of Louis Kahn's Yale Art Gallery Helped Kickstart Modern Preservation." I have a distinct memory from my days as an architecture student at the University of California Berkeley in the late '80s. During an architectural survey class taught by Spiro Kostof, Louis I Kahn's Yale University Art Gallery popped up in the slideshow. "Nice building," I thought, "but what's with those windows?" Fifteen years later at Polshek Partnership (now Ennead Architects), I would become the project architect for the construction phase overseeing the rehabilitation of that classic building—the most challenging aspect of which was to replace "those windows." I came to understand, intimately, how the double-paned window wall had failed almost as soon as construction was complete. Condensation accumulated between the panes, creating the foggy effect that marred my first impression of this groundbreaking building.
 © Christopher Gardner It was Kahn's first major commission and he was determined to make an idealistic statement. Indeed one could argue that that was the essence of modernism—to create singular works of art, even when the design pushed the architecture beyond its technological boundaries. While architects appreciated the importance of Kahn's achievement, the failure of the glass window wall and "years of callous alterations" (as the New York Times put it) contributed to a generalized sentiment about modernist architecture that persists to this day: not all significant buildings are worth saving. And yet at a time when the usefulness of these buildings was in doubt, more so than even today, Yale made a commitment to not only rehabilitate it but also seamlessly integrate it into a larger three-phase, $135-million project that reconfigured the entire Yale University Art Gallery, a process that would take almost 20 years to complete. For the other two wings, built in 1866 and 1928, the importance of treating those buildings with the utmost of care and reverence was not an argument anyone had to make. Rehabilitating the Kahn gallery was not a given at the time, but ten years after reopening, it has become known as one of the most significant efforts to conserve modernist architecture that is, even now, a rare achievement. On the occasion of the ten-year anniversary of the Kahn gallery rehabilitation (the other two buildings were completed in 2012), I decided to take a look back at the lessons learned from restoring a modernist classic, as well as a look forward at the ongoing need for modernist preservation. My process involved reminiscing with James Stewart Polshek about his relationship with Kahn and his work; returning to all three galleries for a tour with senior deputy director Pam Franks (with whom I worked throughout the renovation); talking with architecture critic James Russell; and interviewing an architectural historian with DOCOMOMO about the work that still needs to be done to save modernist buildings.  via Common Edge My ContractorReflecting on the eight years that I oversaw the minutia that is the crux of historic rehabilitation work, I've come to realize that the most under-appreciated aspect of the job is getting the contractors to care about the details—no easy task in this case considering they did not have much affinity for the Kahn wing. Where they saw dull gray walls, I'd point out the subtle pink hue of the concrete, which resulted from the local sand used in the mixture. While they wrestled with the outdated track lighting, I'd point out its importance as the first known lighting system of its kind. When they grew impatient as we exhaustively researched replacement materials for the stairwell, I'd point out the beautiful geometry of the triangular risers ascending a five-story cylinder—an iconic sculptural moment of tension and fluidity. But it wasn't until I had a breakthrough with the head electrician that I realized the importance of developing a shared vision with the very people who need to be the most invested in the details. On one of many occasions when contractors grumbled about the irrationality of the building's design, I talked about the documentary film My Architect, created by Nathaniel Kahn, the architect's son, and released the year I began working on the gallery. As we struggled with the stairwell lighting over many weeks, much to my surprise the head electrician made a point of watching the film and sought me out to discuss it. Soon thereafter I saw a renewed vigor in his efforts to re-energize the upgraded lighting without creating a new exposed connection in the stairwell. It is the creative execution of many such details that makes or breaks a historic rehabilitation, and if the contractors aren't on board, the job is that much more challenging. Replacing "those windows" was by far the most detail-oriented aspect of the Kahn gallery rehabilitation. Recreating the mullions of the new double-paned window wall to within an eighth of an inch became a particular obsession that even Polshek recalls to this day. "The reality is, an eighth of an inch may not be seen but it will be felt," Polshek told me on a recent afternoon over coffee in the West Village. "The process we established set a standard of excellence that carried forward to other modern restorations." "I was there when it was a radical intervention on the campus," he continued, recounting how he was a student when the Kahn gallery opened. "Forty-something years later, I was teaching at Yale when I was approached about rehabilitating it. I said yes immediately. It was the perfect combination of factors—allowing an interweaving of art and craft, a respectable study of the past but not an appropriation. At the time people felt like there was no real use for the building. It had a mysterious genesis. To me it was part of our time that had to be renewed. It was necessary. But the effort to duplicate the details was incredible."
Mid-Century Midlife CrisisOn a gorgeous fall day, my partner, Chad Smith and I toured the art galleries with Pam Franks. It felt like a homecoming. As students bustled in and out through the lobby, Franks and I reminisced about the array of changes we worked on together, from accessibility and climate control to circulation. As important as the details are, it's always the big picture that drives a project of this scope. And the big picture is best articulated by Franks: "The three-building complex, they all were originally built as galleries. So we had this incredible opportunity to recoup the institutional mission at the same time as expanding. With more space we could display collections that had never been seen." She added, "It was really important to retain as much as was practical, but certainly to retain the spirit." Franks touches on an important philosophical construct of historic preservation that has evolved over time. It used to be that when something was replaced, it was intentionally made to look different to show that it was not part of the original. That approach gradually gave way to the idea that historic preservationists should go to heroic lengths to restore a building as closely as possible to its original materiality. But modernist preservation, with its technically failing architecture, pushed this notion beyond its workability. It is this shift in preservation theory and practice that gave rise to DOCOMOMO, which stands for the documentation and conservation of the modern movement. The organization began in Europe but has only been in existence in the US for about 25 years. "We're at an interesting point with modern architecture conservation," Meredith Bzdak, an architectural historian who serves on the Board of Directors of DOCOMOMO, said in an interview. "Hard to believe but it's still a developing field. It's such a huge percentage of our building stock. You want to preserve the best, but there's a lot of stuff to sift through on campuses as well as about half the building stock owned by the government. I would like to see more of what Yale did with less significant buildings. It's an uphill battle." "When buildings are 40, 50 years old," she continued, "they've been lived with, there's been some work done that is piecemeal, but they aren't old enough that anyone has taken a hard look at them. So all the systems need to be replaced and they're not seen in the best light at that age." She started laughing as her analogy unspooled: "They are middle-aged and not yet appreciated for their wisdom!" Architecture critic James Russell, who wrote about the Yale art gallery rehabilitation for the New York Times, agrees. "Yale made an enormous commitment to a building that a lot of people didn't like—but they do now that the renovation is done," he told me. "There's a lesson for others. I'm seeing a lot of 'Brutalism is back' articles. I'm not sure the general public has gone crazy yet. But when you see a sensitive redo, people realize it can be done. That's the significance of the Kahn gallery rehabilitation." While on campus I visited the more recently re-opened Yale Center for British Art, one of the earliest Brutalist masterpieces by Kahn that sits across the street from the Yale Art Gallery. This restoration is also garnering rave reviews, and is arguably a more accomplished work, even though Kahn died of a heart attack in Penn Station before it was complete. ).jpg?1516360846 "Located across the street from the Yale Art Gallery, Kahn's Yale Center for British Art was fully restored last year. Image © Richard Caspole") Located across the street from the Yale Art Gallery, Kahn's Yale Center for British Art was fully restored last year. Image © Richard Caspole Polshek told me about the day he found out Kahn died unexpectedly. He was dean of Columbia's architecture school when he got a call asking him to escort Kahn's wife Esther to the morgue so she could identify the body. "It was a macabre reintroduction to Lou." "I always had an affinity for preservation," Polshek continued, recalling how he established preservation as a degree-granting program at Columbia's architecture school, the first of its kind in the US. "It had been a certificate that was looked down upon. But it's a validation of history; there's a political edge to it. When I went to school, modernism was a religion. Everybody who was going to be an architect was going to be a great designer. Preservation was all about craft. But I believe architecture is a craft. Always new, always different isn't always better." I couldn't agree more. Lloyd DesBrisay founded New York City-based DesBrisay & Smith Architects with Chad Smith in 2012. Prior to co-founding his firm, DesBrisay was at the Polshek Partnership (now Ennead Architect). Lisa Chamberlain, a writer and communications strategist, assisted with this article.
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| House in São João de Ovar / Nelson Resende Posted: 19 Jan 2018 01:00 AM PST  © João Morgado
 © João Morgado Text description provided by the architects. The plot in question has an area of 500.00 m2 and confronts the North and West with access roads, and at East and South with two private plots.  © João Morgado Its location presents good conditions of solar exposure, just as the rectangular configuration allows to maintain a proportion able to host a program of typology type T3, as intended. The project, framed by the legal constraints, namely the construction indexes, volumetries and dimensions, seeks to respond adequately to the program, developing for this purpose a two-story volumetry, with a program mainly of public use in the ground-floor and predominantly private use on the upper floor.  © João Morgado On the ground floor are located the various spaces of service or support to the housing like the laundry or kitchen, along with the main access spaces, horizontal and vertical distribution, living and dinning room, a toilet and also a work space. As for the first floor, along with the introduction of vertical and horizontal distribution spaces, limited to a staircase and an atrium, there is a toilet and two bedrooms and a third bedroom with a cloakroom and a private toilet.  © João Morgado In both the lower and upper floors, the main use spaces have outside support areas (esplanades to support the living room and kitchen, patio to support the laundry, balconies to support the bedrooms), integrated not only in the construction itself as in treated outdoor spaces with garden and fences.  © João Morgado The garage space is also designed in a more flexible way, and can be suitable as a multipurpose room or space as it not only opens to the outside car access but also to the garden.  © João Morgado openings and more controlled to the North, near the accesses, closing mainly the Est façade, tangent to pedestrian and car access space, and orienting the rooms and living room/kitchen essentially for West and at the lower floor also to South (the living room and the working space).  © João Morgado Covered or semi-covered exterior spaces such as the balconies of the bedrooms or the living room/kitchen allow to enlarge the internal spaces and introduce moments of greater connection between inside and outside areas,  Floor Plan  Floor Plan promoting the full use not only of the built spaces but also of the adjacent external spaces. The fence is made with a sheet of corten steel that allows to maintain a careful image and whose formal result is almost only the transposition of the constructive result, which also reigns in the way the housing is built and appears, raw and apparently stripped of any intention of seeking beauty beyond what the building can give.  © João Morgado With regard to the finishing materials of the proposed construction, it is foreseen the use of a reinforced concrete structure, with some external facings in apparent concrete, and it is proposed to cover the lower floor with viroc panels, in the walls, both inside and outside, with a concrete floor and after the concrete strip between floors, the use of the etics system with plastered walls and painted in white on the outside and a plywood coating on the inside with a wooden floor.  © João Morgado Quanto aos materiais de acabamento da construção proposta, prevê-se a utilização de uma estrutura de betão armado, com alguns paramentos exteriores em betão aparente, sendo que se propõe o revestimento do piso inferior com painéis viroc, quer pelo exterior como pelo interior, nas paredes, com um piso em microcimento e após a cinta de betão aparente entre pisos, a utilização do sistema capoto com paredes rebocadas e pintadas em branco pelo exterior e um revestimento com contraplacado de madeira pelo interior e um pavimento em soalho de madeira.  © João Morgado This purposeful differentiation between floors helps to create distinct atmospheres, whether it is the common use space, more formal, neutral and simultaneously flexible, whether it is private spaces, warmer, more comfortable and closer to a more personal approach - despite of the different palette of materials, the way it’s materialized, however, confers an identity that assumes a certain formal austerity, seen almost as unpretentious design.  © João Morgado  This posting includes an audio/video/photo media file: Download Now |
| Posted: 19 Jan 2018 12:00 AM PST  Emerson College Los Angeles. Image © Iwan Baan The principal architect of LA firm Morphosis, Thom Mayne (born January 19, 1944) was the recipient of the 2005 Pritzker Prize and the 2013 AIA Gold Medal, and is known for his experimental architectural forms, often applying them to significant institutional buildings such as the New York's Cooper Union building, the Emerson College in Los Angeles and the Caltrans District 7 Headquarters.  Courtesy of Princeton University Lecture Series Mayne's experimental streak was visible early on in his career: in 1972, he was part of the group which founded the SCI-Arc school with the intention of developing a world-class independent architecture school along the lines of the Architectural Association in London or the Cooper Union in New York. Also in 1972, Mayne co-founded Morphosis architects; during the firm's early days many of their projects were small commissions for friends. He eventually received his Masters from Harvard University in 1978 and returned as the principal architect and lead designer of the firm, growing it into the internationally renowned practice it is today.  Caltrans District 7 Headquaters. Image © Liao Yusheng Morphosis is known for their bold designs, striking a balance between sculptural and monolithic forms. In the jury's citation for his Pritzker Prize, his architecture was described as showing a commitment "throughout his career to create an original architecture, one that is truly representative of the unique, somewhat rootless, culture of Southern California."  Cooper Union Building. Image © Iwan Baan As such, Mayne is not afraid of challenging conventional notions of architecture, often courting controversy in the process. For example, his recent proposal for a 381-meter tall hotel in the small alpine town of Vals attracted significant criticism, even from the competition jury who publicly distanced themselves from the client's decision; anticipating the heated public reaction, Morphosis' own press release described Mayne as "The Bad Boy of Architecture."  Perot Museum. Image © Iwan Baan Throughout his career, Mayne has been heavily involved in education and has remained close to SCI-Arc, as well as teaching at Columbia University, Harvard University, Yale University and the Bartlett School of Architecture.  Bill & Melinda Gates Hall. Image © Roland Halbe Check out all of Mayne's completed works on ArchDaily via the thumbnails below, and our other coverage of Mayne below those: Thom Mayne, Recipient of the 2013 AIA Gold Medal
Morphosis Architects Headline AIA's 2015 Technology In Architectural Practice Innovation Awards Interview With Thom Mayne: "I Am a Pragmatic Idealist" "Campus of the Digital Age": Cornell Tech Officially Debuts on Roosevelt Island in New York VIDEO: Thom Mayne Talks the Cooper Union Building Thom Mayne Completes Research on Houston's Urban Future Archiculture Interviews: Thom Mayne 6 Architects Share What It's Like to Build in New York The Berlage Archive: Thom Mayne (1996)  This posting includes an audio/video/photo media file: Download Now |
| Perkins+Will is Creating a Whole New World for the Suzhou Science & Technology Museum Posted: 18 Jan 2018 10:00 PM PST  Courtesy of Perkins+Will Perkins+Will is creating a whole new world 62 miles northwest of Shanghai for the Suzhou Science & Technology Museum. Inspired by shan sui, the Chinese phrase for "mountain-water," the complex lies at the foot of Lion Mountain and adjacent to Shishan Lake. The 600,000 square foot museum will be the focal point of a new cultural neighborhood in Shishan Park.  Courtesy of Perkins+Will The building itself emerges from the bottom of the mountain and folds back onto itself. With its metallic facades, the form resembles one of Suzhou's most well-known exports, a silk scarf. The facades' metal mesh skin controls daylighting and solar gains by transitioning from opaque to transparent. Inside, the museum features a three story atrium with an aquatic courtyard. On the third floor, Lion Mountain Terrace extends over the lake and frames Lion Mountain.  Courtesy of Perkins+Will  Courtesy of Perkins+Will Complete with terraced landscapes, civic plazas, eco islands, and surrounding forest, the design is much more than just a museum. Many visitors will enter through Discovery Court, a sustainable plaza with permeable paving, bioswales and reflecting pools. On the lake, eco islands are connected by a walkway leading to the museum. The eco islands act as a filtration system for the lake and feature exhibits on water purification, storm water management and sustainable living. The heat island effect is mitigated by the building's green roofs.  Courtesy of Perkins+Will  Courtesy of Perkins+Will The Suzhou Science & Technology Museum follows Perkins+Wills last civic and cultural project in China, internationally recognized Shanghai Natural History Museum which opened in 2015. News via: Perkins+Wills.  This posting includes an audio/video/photo media file: Download Now |
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