Arch Daily |
- Saint-Isidore School Group Extension / ANMA
- Museum Romeins Halder / RESET ARCHITECTURE
- Big Fish & Begonia Film Studio / hyperSity Architects
- Do-C Ebisu / Schemata Architects
- Siamese Ratchakru / Creative Crews
- Mom Restaurant / AML Design studio
- Wentworth House / MHN Design Union
- Álvaro Siza's Full Personal Archive Released for Free Online Browsing
- Pico Branch Library / Koning Eizenberg Architecture
- MVRDV Design "Crystal-Rock" Facade for Mixed-Use Building in Esslingen
- Verdea / Poggione + Biondi Arquitectos
- Kazuyo Sejima Appointed as Newest Pritzker Prize Jury Member
- Taslimi Residence / Fleetwood Fernandez Architects
- 9 Principles of Ethical Redevelopment to Consider in Order to Improve Communities, Not Gentrify Them
- Office Building 1905 / Fran Silvestre Arquitectos
- How Did You Finance Your Model-Making and Printing Costs During Architecture School?
- Urban Equipment for Public Spaces Helps to Build a Bike-Friendly City
- Delgada 1 / Camarim Arquitectos
| Saint-Isidore School Group Extension / ANMA Posted: 30 Jan 2018 07:00 PM PST  © Vincent Fillon
 © Vincent Fillon Text description provided by the architects. The Saint-Isidore district is within the scope of the Operation of National Interest of the Plaine du Var, the site is therefore part of the project of eco-valley that puts sustainable development at the top of the concerns of the mastery of work as mastery of work.  © Vincent Fillon This extension of a school group of the 90s (elementary and kindergarten), with the creation of a multi-day center for early childhood and a leisure center, is located on a trapezoid plot in a heterogeneous built environment, with a road map being redefined.  Diagram It is about responding to the environment and the existing building by a construction that makes it a legible equipment through a discreet architecture, ordinary in its first perception but which becomes extraordinary by the successive discovery of patios, transparencies ...  © Vincent Fillon This resolutely contemporary architecture is thus a big urban hive on a children's scale.  © Vincent Fillon Likewise, the building enjoys immediate views of the village and its bell tower, the two hills close to the east (glue of Saint Isidore and Plana de Flori), as well as the large landscape in the north with the Baou de Saint-Jeannet in the background, the Mercantour mountains, and to the west, the hills of Saint-Laurent du Var.  © Vincent Fillon The catch on the existing school is ensured by a formal continuity and in plan mass. A volume on the ground floor develops over the entire plot, 3 volumes in R + 1 mark the different programmatic entities (nursery, kindergarten and CLSH). The existing extended yard provides liaison between the 2 schools.  © Vincent Fillon  Floor Plan  © Vincent Fillon The public garden takes place between the Avenue Auguste Vérola located south of the plot and the nursery. It thus removes from the road traffic the living spaces of the nursery, and offers a pleasant view.  © Vincent Fillon  This posting includes an audio/video/photo media file: Download Now |
| Museum Romeins Halder / RESET ARCHITECTURE Posted: 30 Jan 2018 06:00 PM PST  The first floor is used as a study space for archaeological research.. Image © Stijn Poelstra
 A new wooden volume in the interior of the barn presents itself in the north facade and forms the entrance.. Image © Stijn Poelstra Text description provided by the architects. Reset Architecture transforms a barn at a historical estate into a museum.  The barn is insulated with flax in timber framed walls and roof and finished with clay plaster and . poplar from the estate.. Image © Stijn Poelstra The Museum Roman Halder houses archaeological artifacts. Halder was a notable settlement where pottery and metal objects where produced during Roman times. Nearby the archaeological site, the museum is set up at the Haanwijk estate. The 17th century estate is located in a beautiful nature area at the river Dommel, located in-between Eindhoven and 's-Hertogenbosch in the Netherlands. A system of well-perceived tree lanes, woods and fields provide a surprisingly quiet countryside feel, situated not far away from urban surroundings. The new museum accentuates the societal value and historical significance of the site. It is the start of further big plans to musealise the nature reserve and renovation of the listed buildings on the estate by the owner; Nature Association Brabantslandschap.  Sectin 01  First Floor Plan  Section 02 A pinhole shoebox scene  Poplar wooden slats acoustic wall . Image © Stijn Poelstra Limited changes have been made to the exterior of the barn. The entrance is marked but otherwise the appearance of the barn, that adjoins the monumental building, remains intact. The barn was efficiently built in a time of scarcity after the Second World War. Four atypical cruck timber frames are the most characteristic elements that indicate this era. The wood is unpolished rough but the carpentry is made with great craftsmanship. This combination of raw materials and sophisticated detailing is inspiring; it's an approach that has been adopted in the new design. The most dominant new element is the delicate wood finished wall. Poplar wooden slats in three sizes are arranged in a continuous rhythm so that the vertical support structure of the railing remains out of sight. The Poplar originates from the Haanwijk estate. It is a special cut for this project from wood whose quality would not meet regular standards. The approach of raw and refined also shows in the diligent polished barn-like concrete floor that did not receive any further finishing material. Reset architecture embraced the "farmer's efficiency" and continued the method of not doing more than necessary in a local and sensibly way. Most materials are bio-based. The barn is insulated with flax in timber framed walls finished with clay plaster. However, the interior does not present itself as a distinctive eco-architecture. The interior is a quiet and elegant background for the exhibition and a smooth continual factor of the landscape outside.  Frontal view of the east facade. New three meter ten high steel doors are placed behind the existing barn doors.. Image © Stijn Poelstra  This posting includes an audio/video/photo media file: Download Now |
| Big Fish & Begonia Film Studio / hyperSity Architects Posted: 30 Jan 2018 04:00 PM PST  © Chuan Zuo
 © Chuan Zuo Text description provided by the architects. The new office of Bi An Tian is relocated in the C3 area of the Ji Li International Art Zone, Chaoyang district of Beijing, whose animation film "big fish and begonia" won the best animation at the 15th Budapest international animation festival in 2017. The new office space was selected in an old plant with 9m-storey height. While retaining the original walled structure of the factory building, new foundation was provided to ensure stability. The interior new steel structure is added to articulate the new functions without interrupting the overall industrial atmosphere. As the district is full of plants in a grey color, the new façade is painted in white color and extended to the indoor space, with collocation of wood texture, to deliver the transparent and pure feeling.  © Chuan Zuo  Axon Section The team is formed of young film makers as a big family, who often spend their time working whole night in the studio. New office space is set to fulfill different filmmaking target groups. Film production workflow is divided into three sections, which is the pre, mid and final stage. The pre-production section requires free air that can lead to the creative thinking. The mid-term section comprised of main parts of production teams, which demands the flexibility and openness. Final production stage requires strict control of skylight burst through interior space.  © Chuan Zuo  Axon  Library. Image © Chuan Zuo In the east of the building, the lower level is the entry space for the poster displaying and the long corridor adjacent to the south facade, a micro-landscape area. Sunlight is stenciled in the form of a tile that is exposed to the promenade through the outer wall. The restis working space for mid-stage team. The west side of the building has a variety of elevations, from two to four layers containing large reading room, a enclosing watching room for final-stage team, gym, shower rooms, and a half-underground kitchen, dinner and party space. Casual spaces are also provided for pre-production team. There is also a sleep space that can be rested by overtime.  1F Plan The circular square of the atrium is inspired by the Tulou characteristics shown in the "big fish and begonia" as the classic scene Preserving the original plant story height, it is designated as core communication site, to create a strong sense of collectiveness. Three quarters of the plaza sink in a circle, as a corner-type cascade theatre, as well as a place for discussions, movie watching and meetings. It surrounds a circle of working area, including closed, semi-open offices and office space of the founders.  © Chuan Zuo  Section The whole design is to keep the building of a rectangular building, while the interior spatial profile gave up the rectangle.The interior elevation is no longer a single level, but is differentiated for varies functions and territories, connected through corridors and steps.The layers are used to the maximum effect.The indoor levels determine the sizes of the windows that puncture the facades. Seeing from outsideat night,inner activities are projectedand presenting the dynamic of the indoor filmmakingrhythm.  © Chuan Zuo  This posting includes an audio/video/photo media file: Download Now |
| Do-C Ebisu / Schemata Architects Posted: 30 Jan 2018 02:00 PM PST  © Nacasa & Partners
 © Nacasa & Partners "℃ (Do-C)" is a new business launched by nine hours, a company running a capsule hotel chain "9h (nine hours)" in the Tokyo metropolitan area. While the 9h hotels offer a new image of a contemporary capsule hotel by completely redesigning and building new capsules from scratch, the company decided to take a different approach in designing ℃ and asked us to renovate an existing capsule hotel.  © Nacasa & Partners  Floor Plans  © Nacasa & Partners Our design aims to eradicate the image of the old capsule hotel by changing the interior and surroundings while keeping the existing capsules as they are. The color of the existing capsules –– an old-fashioned beige reminiscent of the retro design period –– was rather difficult to handle, but we intentionally used it as a base color for the interior to eradicate the impression of the existing capsules. In Japan, people often stereotypically associate capsule hotels with saunas due to the conventional style of capsule hotels in the past. The existing building was actually not equipped with saunas, but we intentionally recreated the stereotypical image by adding saunas there, while eradicating the conventional impression, to establish a powerful combination of capsules and saunas representing the identity of ℃.  © Nacasa & Partners The sauna was originally imported from Finland to Japan, which later evolved locally and a distinct combination of the sauna and cold bath for cooling down was established. Cooling down process is very important when using a sauna. Here shower faucets called "Warm Pillar" (manufactured by TOTO) with a temperature controlling function are used for cooling down. The method called "löyly", which is common in Finland is adopted to create authentic saunas.  © Nacasa & Partners  © Nacasa & Partners The space connecting the shower room and the sauna area is entirely finished with clear FRP (fiber reinforced plastic) from floor to wall to ceiling for waterproofing. In addition, the existing surface finishes on the stairs in front of the building were completely removed to expose the structural members, which were then repainted with anti-corrosive paint for maintenance. The entire building was also painted in the same color as the anti-corrosive paint, which was designated as the signature color.  © Nacasa & Partners  This posting includes an audio/video/photo media file: Download Now |
| Siamese Ratchakru / Creative Crews Posted: 30 Jan 2018 12:00 PM PST  © Spaceshift Studio
 © Spaceshift Studio Text description provided by the architects. Siamese Ratchakru is a mixed development project comprising of two towers; an office and a condominium. During the 1997 Asian financial crisis, the real estate market crashed. More than 10 years later, there were still evidence of abandoned construction sites around Bangkok, Siamese Ratchakru was one of them. In 2011, the government released an act to waive impeding regulations to allow these projects to be completed without compromising people safety.  © Spaceshift Studio The architect had to work with existing structural foundations and within the approved building footprint and height. With the office tower, existing footing prescribed its position close to the site boundary, thus disallowed opportunities for openings. As a response the architect carved into the block allowing multiple openings for natural light and ventilation. The arrangement afforded the opportunity for planter boxes and balconies leading to more appealing workspaces. In order to compensate for missing area carved from the block, parking is re-planned to be more efficient resulting in a parking floor reduction, thus replaced with a condominium floor.  © Spaceshift Studio For the condominium tower, the architect proposed cantilevered balconies, as the majority of units are small. The balconies are angled to direct views towards the city and away from the office tower in front. Restrictions of the prescribed column positions made for a relatively narrow configuration, and so careful planning was essential to create the best possible internal environment. This was done by folding the shared wall and aligning the service functions. Planted walls run down both edges of the residential tower, concealing fire escapes and internal planting is integrated as much as possible in common areas; shared facilities deck and lobbies.  Section Siamese Ratchakru is an example of how abandoned structures could be revived to become desirable development and architecture relevant to current times.  © Spaceshift Studio  This posting includes an audio/video/photo media file: Download Now |
| Mom Restaurant / AML Design studio Posted: 30 Jan 2018 11:00 AM PST  Facade. Image © Weiqi Jin
 Courtyard night scene. Image © Weiqi Jin
《Mom restaurant》is named after a song by singer zhao lei's second album. The "Mom restaurant" in the song is one of the few small Muslim houses we often visit, which has a mother's taste. "Jim" means "mother" in the reply.  Bar counter. Image © Weiqi Jin 《Mom restaurant》album cover is a tree, it represents growth, life, rooted in the earth, coincidentally, the project site is also have a such tree, we will be retained and taking the design of it, facade of rammed earth wall like grow from the ground, d to the courtyard to bring people together, the low entry only bow can enter, a symbol of modesty and humility, sitting under a tree in the yard on a low stool can lose heavy and hypocrisy, is sincere and plain.  Courtyard. Image © Weiqi Jin Squatting is the natural posture of a human picnic, and this "informal" eating posture allows people to relax and close the relationship between diners. Squatting perspective gives diners the "low-dimensional" world they normally ignore.  Section The west side large area floor window, provided indoor good natural daylighting, outdoor large area green plant provides more visual pleasure for diners. The first floor of the seat is spread out in the center of the stage. There are groups of three or five groups, some of which are secluded and independent, so that each group of seats has the exclusive property of its guests.  An interior part. Image © Weiqi Jin The stage part design is more flexible, the audience can enter or sit or stand, let the person and music natural fusion.  An indoor stage area. Image © Weiqi Jin A layer to the second floor carry empty stairs, in order not to occupy the limited interior space, the stair to outdoor, lap cladding canopy in the form of framework, not only meet the functional requirements, using semi-permeable sunshine board to reduce the weight of the stairs on the vision, make the light and transparent, let a guest of the focus on the stage.  One floor to the two staircase. Image © Weiqi Jin To enhance the fluency of moving lines, in the form of sculptural sense in space.  Two storey interior parts. Image © Weiqi Jin In and out, the indoor and outdoor space is blurred, and the courtyard is closely connected with the interior.  Two staircases. Image © Weiqi Jin  This posting includes an audio/video/photo media file: Download Now |
| Wentworth House / MHN Design Union Posted: 30 Jan 2018 09:00 AM PST  © Richard Glover
 © Richard Glover Text description provided by the architects. The site is located on the southern ridges of Sydney Harbour at the crest of a gully which feeds into Vaucluse Bay. It is heavily wooded with mature eucalypt and palm trees dotted around the site. The site is characterised by a series of sandstone rock shelfs which occur at various heights as you descend from the street level.  © Richard Glover  Fourth Floor Plan  © Richard Glover The design brief was to provide a family home which provided generous amenity yet sat quietly within the landscape. Our intent was to capture the story of the site through the design of the house. From the outset we wanted to merge the house and land in a seamless way. Our response was to create a series of planar elements in both plan and section to define the spaces which interlock and extend into the landscape. Overlaying this idea is the linking stair which threads through the levels twisting and turning like a piece of rope. The blade walls are parallel and orientate to the north east with the ends open or glazed thus providing transparency and openness to light, ventilation and harbour views.  © Richard Glover In section, the multiple floor levels are treated like cascading platforms and echo the existing rock shelf. These platforms serve to lower you through the house similar to an initial discovery of the site. The stair is central to this experience with the primary spaces extending from it like eddies from a stream. These spaces are quiet and reposed yet maintain their visual connection to the circulation spine. The swimming pool extends the living space and sits high above the ground almost touching the tree canopy.  © Richard Glover Emphasising the experiential sequence is a sense of materiality and texture with off form concrete, recycled Ironbark, Burnt Ash and Basaltina stone forming the primary palette. The sense of touch is heightened with the warmth of the native timbers complementing the smooth finishes of the concrete walls and stone floors.  © Richard Glover  This posting includes an audio/video/photo media file: Download Now |
| Álvaro Siza's Full Personal Archive Released for Free Online Browsing Posted: 30 Jan 2018 08:00 AM PST  Fundação Iberê Camargo, Porto Alegre, Brazil. Image © Flickr user bauhausler. Licensed under CC BY 2.0 A's extensive personal archive of built and unbuilt projects is going online with free access, thanks to the collaboration between three institutions – the Serralves Foundation in Oporto, the Calouste Gulbenkian Foundation in Lisbon and the Canadian Centre for Architecture (CCA) in Montreal. Siza donated his archive to the three institutions in 2014, and after three years of archival work, the first batch of entries are set for public viewing. The complete archive contains more than 60,000 drawings, 500 models, 282 sketchbooks and a large record of digital material illustrating built and unbuilt houses, museums, cultural centers, universities, city master plans and more from sites across the world. The Calouste Gulbenkian Foundation and the Serralves Foundation will house Siza's projects in Portugal dating from 1958 to 2006, while the CCA will manage international projects and all projects from 2006 and into the future. As of February 2018, the first archival descriptions will become available online in the search engines of the CCA, the Serralves Foundation and the Calouste Gulbenkian Foundation, including early projects from the 1950s and 1960s, in addition to projects for the IBA competition of Berlin and urban renewal projects in The Hague from the 1980s. Other projects include Bonjour Tristesse; Punt en Komma; the Boa Nova Tea House and Restaurant; the Swimming Pool at Leça de Palmeira; the Borges & Irmão Bank; the Faculty of Architecture of the University of Porto (FAUP); the Serralves Museum of Contemporary Art; the António Carlos Siza house; and the renovation of the Caretaker's house - Vieira de Castro house. News via CCA.
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| Pico Branch Library / Koning Eizenberg Architecture Posted: 30 Jan 2018 07:00 AM PST  © Eric Staudenmaier
 © Eric Staudenmaier Text description provided by the architects. Conceived as a community living room, this branch library engages its park setting to encourage the use of an educational resource in a minority neighborhood. The project was developed with the community in a series of public design workshops which resulted in an inclusive design approach and interactive service strategies that attract families normally reticent to use institutional resources.  Site Plan The library's siting preserves existing green space while repurposing underutilized space to activate the park's event plaza. On Saturdays the front door opens to the edge of the local Farmers Market, creating a resonance around which librarians have developed programs about food and health. The building jumps a fire lane to the west to find space for a community room and amphitheater, further engaging existing buildings that offer programs for teens, children, job seekers and seniors. A photovoltaic canopy spans the fire lane, offsetting carbon footprint while enhancing walkability.  © Eric Staudenmaier  Diagram  © Eric Staudenmaier Indoor/outdoor connectivity is achieved through daylight harvesting and passive shading, an integrated design approach which sets architectural identity of the LEED Platinum building. Rainwater harvesting complements existing park stormwater management systems and provides grey water re-use for flushing, a first for public buildings in LA County.Skylights and a carved ceiling amplify light, defining a distinctive roof and ceiling shape, while deep overhangs and canopies shade glass from direct sunlight, eliminating the need for indoor window shades. Outside, this shading establishes a hovering presence while the photovoltaic canopy and pergola tails add pattern and detail to the design.  © Eric Staudenmaier  Floor Plan  © Eric Staudenmaier  This posting includes an audio/video/photo media file: Download Now |
| MVRDV Design "Crystal-Rock" Facade for Mixed-Use Building in Esslingen Posted: 30 Jan 2018 06:00 AM PST .jpg?1517336631 "© MVRDV") © MVRDV MVRDV has revealed the design of The Milestone, a new mixed-use office building to be built in the city of Esslingen, Germany. Featuring a distinct, part-reflective "crystal rock" facade and a hollowed-out pixelated core, the building will become a standout new landmark and public amenity for the city. .jpg?1517336642 "© MVRDV") © MVRDV Located on a public square in Neue Weststadt near the central railway station, The Milestone will contain 70,000 square feet (6,500 square meters) of mixed-use space across 12 stories. Inspired by the city's past and its future ambition, the design will feature reflective and interactive elements that will educate visitors and residents alike of the region's culture and history. "This building shows Esslingen to people all who pass by on trains and will become a new symbol to reflect its past heritage and future'', says Winy Maas, MVRDV co-founder. "The façade with fritted glass will have QR codes integrated on to it informing visitors about Esslingen's people, landscape, and histories which makes the building an interactive library for all."
From the open plaza, the building steps up towards the 'esslinger grotto', an open walkway that punctures through the building and reflects in views from the surrounding landscape. Upper levels will contain flexible, light-filled office spaces, while ground level spaces will be occupied by public amenities including a cafe, restaurant and meeting spaces.  © MVRDV Perhaps the building's signature element, the facade will utilize a range of innovative technologies to control the interior conditions of the building and produce energy. "The Milestone's part mirrored-transparent façade integrates technology and sustainability with the use of fritted glass to reduce overheating, PV cells to store and generate energy, and finally, QR codes which carry information about the city in a pixelated map spread across the building making it both visible and readable," explain MVRDV. "The map, be located on the lower part of the building extends to a height of 40 meters, and with stairs and terraces, it forms a publicly accessible core that tenants and visitors can walk up to take in views of the vineyards and surrounding hills. All of these sustainability features in the façade all the potential for the building to become partly self-sufficient in future."  © MVRDV .jpg?1517336620 "© MVRDV") © MVRDV  © MVRDV The glass facade will also allow the building to transform between day and night – during the day, the reflective surface will make the volume disappear into the city, while at night, it will become a luminous beacon for Esslingen. The project was commissioned by RVI Germany. Construction is scheduled to begin in 2020.
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| Verdea / Poggione + Biondi Arquitectos Posted: 30 Jan 2018 05:00 AM PST  © Juan Solano Ojasi
 © Juan Solano Ojasi Text description provided by the architects. Verdea is a building that takes care of the local and global environment, through the choice of building materials, the planning of its construction processes, the careful selection of sustainably manufactured finishes, and the installation of water and energy saving hardware. Verdea is a building that takes care of the interior climate, through architectural design in a project that takes solar exposure into account when planning the orientation and distribution of the windows and glass doors, in order to get ample natural light and comfortable interior temperatures for all of the spaces.  © Juan Solano Ojasi Verdea is a building that takes care of the interior air quality, through the selection of finishes with the lowest VOC (volatile organic compounds) and HAV (volatile aromatic hydrocarbons) emissions, in order to maintain a healthy, emission-free interior environment. Also, it is a unique building because it has a system of air extraction ducts for the laundry areas, so that all exhaust from the gas water heaters can escape from the ducts on the roof on the last floor, out into the open air, allowing for the best possible air quality inside all of the apartments.  © Juan Solano Ojasi Verdea is a building that takes care of the local environment and contributes to its surroundings with good architecture and urban design. It has exceeded the number of square meters of green areas that existed at the house previously on the site. These are located in green roofs, planters and green walls. Verdea is a building that offers its residents more time, through its common use areas for multiple activities, which allow the residents to work, learn, exercise, and have fun all in the same place, without having to waste their valuable time in the city traffic and without contributing to carbon monoxide emissions in going to and from home.  © Juan Solano Ojasi  Fourth Floor Plan  © Juan Solano Ojasi Verdea offers all of its residents the use of bicycle parking, a multiple use meeting room, a party room with kitchenette, all in a space that is prepared to also be a cinema and has nearby men's and women's restrooms, as well as direct access to Paul Rivet Park. The building has separate garbage and recycling rooms on each floor, to make garbage recycling separation easier for the residents. The apartments' social areas look out onto the park, while the bedrooms face the street and have sealing tilt and turn windows made of environmental PVC to provide the noise insulation necessary for these rooms, as well as the whole building.  © Juan Solano Ojasi  This posting includes an audio/video/photo media file: Download Now |
| Kazuyo Sejima Appointed as Newest Pritzker Prize Jury Member Posted: 30 Jan 2018 04:15 AM PST _Dean_Kaufman.jpg?1517332084 "© Dean Kaufman") © Dean Kaufman Japanese architect Kazuyo Sejima, co-founder of Tokyo-based SANAA, has been appointed as the newest member of the Pritzker Prize Jury. Sejima, the 2010 Pritzker Prize co-laureate, will help to decide the recipient of the 2018 Prize, the 40th edition of what has become known as the architecture world's most prestigious honor.  © Takashi Okamoto Commenting on her nomination, Tom Pritzker, Chairman of Hyatt Foundation, said, "During her acceptance speech of the 2010 Pritzker Prize, Ms. Sejima remarked, '…this award is not only in recognition of our past works but rather an encouragement toward new architectural creations.' It is this credence, alongside her international background and experience, that makes her a welcomed addition to the Jury." "I am looking forward to working with my colleagues on the jury and supporting the mission of the Pritzker Prize," remarked Sejima. Sejima will join 8 other jury members for the award, including:
The Executive Director of the Pritzker Prize is Martha Thorne. The 2018 Laureate will be announced in March with an official ceremony in Toronto, Canada to follow this spring. For its 40th anniversary, the Prize has launched a new website, PritzkerPrize.com, and an expanded social media presence. Check them out on Facebook, Twitter and Instagram.  This posting includes an audio/video/photo media file: Download Now |
| Taslimi Residence / Fleetwood Fernandez Architects Posted: 30 Jan 2018 03:00 AM PST  © Benny Chan
 © Benny Chan Text description provided by the architects. The design of this 5,600 square foot single family home in Santa Monica was rooted in a keen awareness of site and landscape and a dedication to sustainable architecture. After living in the neighborhood for over 30 years, the clients decided to build a new house that would more completely engage the landscape while seeking the highest certification offered by the U.S. Green Building Council. Designed as a linear sequence, the house unfolds as a series of spaces that are completely open to the landscape. Large expanses of glass walls pocket away allowing rooms to blur the distinction between outside and in. Fleetwood Fernandez Architects was responsible for the architecture as well as the interior design, which in addition to the sustainable finishes inherent to this type of project, features a curated selection of furnishings with many vintage pieces that extend the spirit of reuse.  © Benny Chan  Ground Floor Plan  © Benny Chan  This posting includes an audio/video/photo media file: Download Now |
| 9 Principles of Ethical Redevelopment to Consider in Order to Improve Communities, Not Gentrify Them Posted: 30 Jan 2018 01:30 AM PST  The Stony Island Arts Bank was originally designed by William Gibbons Uffendell and constructed in 1923 as a community savings and loan. The refurbishment was launched by the Rebuild Foundation under the direction of artist Theaster Gates. Image Tom Harris © Hedrich Blessing. Courtesy of Rebuild Foundation A version of this article was originally published by Common Edge as "The Principles of Ethical Redevelopment." Where does creativity live? Can the highest level of cultural production come from down the street? What does it mean to be a good neighbor, a good steward? How does that look when there are so many forces at work keeping people isolated? How do you see value in what others discard? Can we learn to talk about moments of success in our struggling neighborhoods, not as random and magical, but as sophisticated flexibility? What is civic empathy? These are some of the questions Place Lab, a University of Chicago partnership between Arts + Public Life and the Harris School for Public Policy, explored in an exercise last year conducted with the support of the John S. and James L. Knight Foundation: it's the articulation of a set of nine principles collectively called Ethical Redevelopment.
Rooted in artist-led, neighborhood-based development work actively occurring on Chicago's South Side, these evolving set of principles emerged from the work of artist Theaster Gates, Jr. For more than a year, Place Lab steeped itself in his projects and practices, and through documentation and implementation has supported the ongoing growth of the artist's South Side cultural investments, such as Stony Island Arts Bank and the developing Arts Block at the University of Chicago. In addition to observing and participating in the work that Gates directs, Place Lab compiled a series of interviews with individuals who have current or past roles in the work. These interviews included a diverse group of artists, collectors, arts administrators, community leaders, organizers, neighbors, funders, staff, personal and professional associates, enthusiastic advocates, early adoptees, believers, supporters and even skeptics. This catalog of conversations, in tandem with the values espoused by Gates, have been distilled into our approach for mindful city building: Ethical Redevelopment.  Portrait of Theaster Gates. Image Courtesy of University of Chicago Gates may be unique—he has a strong and particular point of view in his space practice—but he's not the only one who loves where he's from and where he lives. There are champions of place all over, with complimentary work happening in many other parts of the country. As we document, create stories about the process, implement intervention and develop strategy, Place Lab will avoid prescriptive declarations or the propagation of models. Context, histories and the players matter in redevelopment work, and what Place Lab shares is not meant to be duplicated. What works in Chicago—in our buildings, with our artists, with the publics we assemble, with our neighbors, with the funders who join—should provide a flexible methodology that can be customized for other locations but never replicated. The body of content that forms the basis of the nine principles is not new thinking. Smart city discussions have a huge focus on "innovation," but there should be caution against preoccupation with the newest, freshest ideas. For centuries, regular folks have been doing important work to make their communities successful and creating rituals to keep their communities alive. They have turned shacks into juke joints, stoops into entrepreneurial outdoor offices, corners into performance venues, vacant lots into adventurous playgrounds. They have not made something from nothing. They have seen possibility where others see only limitation.  The Stony Island Arts Bank was originally designed by William Gibbons Uffendell and constructed in 1923 as a community savings and loan. The refurbishment was launched by the Rebuild Foundation under the direction of artist Theaster Gates. Image Tom Harris © Hedrich Blessing. Courtesy of Rebuild Foundation Instead of calling Ethical Redevelopment new or innovative, it's more accurate to consider Ethical Redevelopment as an atypical process for transformation. A people-focused approach to development is simply not as widely practiced as traditional forms of neighborhood development that prioritize profit over community. "Gentrification is a standing word for lots of other things that people really mean," Gates explained in an interview with the Chicago Tribune. "When people in poor black communities use the word gentrification, they're asking specific questions. If something good happens here, will I be forced out? Can I still afford to live here? Will the social constructs that governed how I lived here change? Everybody's concerned with those questions around affordability, livability and quality of life. Sometimes, growth or change in a place happens without sensitivity, but it's completely reasonable that you could have ethical redevelopment that would be sensitive to people who already live in a place, while making room for other people to live, work, shop, travel and feel safe." Values, process, and aim are what distinguish Ethical Redevelopment from gentrification: robust public life requires a belief in and devotion to place in advance of investment. It's important to note that much of the work that Gates is engaged in on the South Side of Chicago happens outside of places on the cusp of change. The work is taking place in stigmatized neighborhoods that have been systematically ignored over several generations. The Nine Principles are part of a living, evolving approach to making cities successful. Like our cities, they're a work in progress. Ethical Redevelopment is an approach that allows a city to work in the interests of all, not just the few. It is our hope that people everywhere can apply these principles to the places they care about. To the cities they call home. The 9 Principles of Ethical RedevelopmentEthical Redevelopment is about shifting the value system from conventional financial and development practices to conscientious interventions in the urban context. The following explanations of the Nine Principles have been edited for space. Review the full principles in this downloadable document. 1. Repurpose + Re-proposeConcepts: possibility, transgression Artistry is alchemy—it allows one thing to become another. Be an alchemist in your community. In new hands, there is renewed possibility for the discarded and overlooked. This includes people as well as materials. Who is around you, and how are they valuable? How does repurposing objects live alongside the rehabilitation or reclamation of people? How can your work become a pipeline for training individuals on whom others have given up? Repurpose with new purpose. People, property, and materials can be remixed and reimagined if you imagine a new use. This, in effect, becomes a transgressive act by replacing allegiance to profit-as-motivator and allows for other considerations to drive the creation of place. Objects and projects do not have to be monetized to be useful. 2. Engaged ParticipationConcepts: neighborliness, localism, access points Invite others to get involved. Approach participants authentically as you would a neighbor. Work with the people who believe in the place: locals embedded by proximity, those connected by a desire to contribute or commitment to a mission. Provide multiple access points or ways to participate. Participation drives the transformation of a place and of those involved. Work as a resident and citizen to spur civic engagement, drawing a relationship between citizen participation and citizen power. The value of the relationship is in the intimacy, not in the duration. Engage for as long as it makes sense to engage. This intimacy sparks commitment to a vision, and the neighbors, staff, and visitors become participatory producers—more than "consumers"—by tapping into different access points to find themselves in the work. The work is for many, with many, and, ultimately, by many. 3. Pedagogical MomentsConcepts: knowledge transfer, social responsibility Moments of learning and teaching unfold in all aspects of work. Consider the steps in each project that could be instructive. By tapping into the existing, possibly latent talent within a community and putting it to use for the community, exchanges for transfer of knowledge reach across identities, roles, practices, disciplines, generations, and localities. Young people need opportunities to experiment, gain experience, and imagine their future. Adults, who are looking for new chances, benefit as well. Bring everyone along for the journey. Cultivate the talent they bring and foster new talent in work that excites them. Experience is the teacher; exposure is the lab. Whether creating programs that capitalize upon existing talent or establishing workshops, training programs, and business accelerators, the ability to recognize moments for knowledge and skill sharing is a part of one's social responsibility, effectively deepening the network of relationships within a community, its ecosystem, and the larger social economy. Without leveraging these structures and moments for pedagogical exchange, opportunities for teaching, learning, and cultivating talent are lost. 4. The IndeterminateConcepts: imagination, intuition, faith Suspend knowing. Embrace uncertainty. Accept ambiguity. Allow the work to offer solutions; ask questions in response to "problems" facing a neighborhood or city. Resource inequity can be reduced with imagination. The variable of the unknown is built into Ethical Redevelopment, into the programming and the acquisition of resources. Use faith and intuition to guide methodology, a process that's left undetermined, undefined, or slowly revealed, allowing for a fluidity, dynamism, and creativity that respond to developments in the moment and change direction as needed. Strictly profit‐based entrepreneurs work to eliminate uncertainty, opting for careful strategizing and coordination to reach defined goals. Part of the unorthodoxy of Ethical Redevelopment is that while it is vision-driven, the route to achieve the vision is open-ended. Believe in your project but resist believing there is only one path to achieve it. You can begin without a clear understanding of your end game—your intuition is just as powerful as a well-designed strategic plan. 5. DesignConcepts: aesthetic, desirability Everyone deserves to see and be a part of the transformation of their spaces into places. Beauty is a basic service often not extended to "forgotten parts" of the city. It is an amenity considered incongruent with certain places. Beautiful objects come from and belong in blighted spaces, just as they do in high-investment areas of a city. Creative people can play a pivotal role in how this happens. Beauty has magnetism. It defines character. It promotes reverence. Design can enhance the desirability of a neglected site, corridor, or block while illustrating the reverence and care of a neighborhood and its residents. Aesthetics may speak loudly or whisper, but either way they draw people in. It provides value, respect, importance, and regard for the character of a community. 6. Place Over TimeConcepts: flexibility, nimbleness, aggregation, anchor space A sense of place cannot be developed overnight. Actions, interventions, site-specific experiments, and investments need adequate time to be realized. Likewise, neglect, abandonment, and divestment of a place happen over time. Pockets of cities deteriorate gradually. Thus activation, density, and vibrancy require cultivation for an extended duration, not short, quick fixes. Place is more about the people who inhabit it and the activities they engage in than the space itself. To be an anchoring space in a city, people have to be willing to spend time there. Hot, hip spots come and go. Trendy locations fall short of connecting "need" with "space." Need changes over time and, as a result, space has to change over time. Spaces have to be flexible and nimble. Place‐based work is about the aggregation of years of activity and organic development of relationships. When it works, people visit and return in response to offerings that are authentic to the spirit of the place. Intentionality resonates. Visitors can shift from users to participants. They can become invested in the sustainability of the place and contribute to the quality of the experience. Participants come to rely on anchor spaces as consistent resources of cultural and spiritual sustenance. 7. Stack, Leverage + AccessConcepts: scaling up, strategy An investment in yourself, in your ideas and projects, sends a signal to those watching your work. It is critical to have skin in the game, to have something at stake even if the investment is sweat equity. Making change requires conviction and commitment utilizing belief, brainpower, energy, time, and dogged perseverance. Projects like these require belief and motivation more than they require funding. Whether an intervention is a single project, location, or gesture, it has impact and reverberation. Early small success can enable the next project. Leverage the attention garnered by the work to amplify it. Let the work attract more believers. A good idea is as crucial as establishing relationships with funders, gaining access to multiple spheres of influence, and incorporating expertise. Turn interest and excitement into investment. Resource streams should be diverse, stacked, and bundled to meet the price tags of your projects. Over time, a project from your initial days of engagement and experimentation can mature. Something that you passionately believed in, but had little external backing for, can grow in scale and scope to become a sophisticated version that many stakeholders support and believe in. Demonstrating capacity permits access to greater resources. Proof of infrastructure is persuasive. 8. ConstellationsConcepts: ecosystem, diverse entities Charismatic leaders are ineffective without teams. Both are strengthened by the presence of the other. Complementary skills and practices advance work. Collaboration allows for some of the best work to emerge from a process. Teams benefit from careful curation and exchanges across specialty. Projects need visionaries, believers, implementers, collaborators, and evaluators. A vibrant constellation or a rich ecosystem is responsive to the pairings and groupings that suddenly emerge. Some webs of connectivity mature more slowly, gradually revealing formerly unforeseen affinities. A project taps into a particular kind of power when it refuses to be singular, when it takes up space and assembles believers from disparate corners. 9. PlatformsConcepts: the thing that makes the thing, hang time Regardless of regional circumstance, many of our cities suffer the same challenges—neglect, population loss, and abandoned buildings that defy the limits of the neighborhood's imagination. Often, the proffered solution is singular. But one building, individual, or program cannot reroute a neighborhood's trajectory. A community needs a platform: a foundation that creates new social possibilities, a structure that incubates new economic or artistic prospects. A platform is a mechanism to propel work forward—it creates conditions of multiplicity, compounds ideas, expands relationships, germinates opportunities, and widens access. A stage or platform is often invisible. It operates not in service of itself but to reinforce what can be. A just city is required to facilitate platforms that engage those who do not understand their power and feel cheated out of the right to publicly demonstrate their power. Platform building means developing opportunities for people to gather and commune. The event—what is happening—is beside the point. The point is that folks are meeting, exchanging, and learning. Create intentional hang time, which builds community, through a space that encourages deep conversation, new friendships, and, ultimately, a community of people who want to be a part of transformative work in the neighborhood. A space where like‐minded folk can come and say, "What else can be done? What can I do 10 blocks away from my block? How do I share what I love to do with others?" Isis Ferguson is program manager for Place Lab, an urban arts community development initiative at the University of Chicago, which documents and demonstrates arts and culture-led urban transformation.  This posting includes an audio/video/photo media file: Download Now |
| Office Building 1905 / Fran Silvestre Arquitectos Posted: 30 Jan 2018 01:00 AM PST  © Diego Opazo
 © Diego Opazo Text description provided by the architects. There is a distinct pleasure in restoring an old object. Let's take for instance an old flexo, one of those that were used in the drawing tables of the technical offices. First, to understand it, disassemble it with care, clean the rusted parts, repaint it, chrome the elements that require so, replace the old cable with one that resists the new voltage and do the same with the lamp holder and the switch, search in unexpected places for a new coil to replace a damaged one. Intervening only where is necessary provides the object with a new life, thus displaying itself, a hundred years later, ready, as newly manufactured.  © Diego Opazo The same attitude was assumed in this building, which dates from 1905 and is a sample of the Valencian architecture of the early twentieth century. Located in the first expansion district of the city a, it was designed by the architect Antonio Martorell, considered as one of the most distinguished architects of his time. The objective was to transform the headquarters of a historic Valencian company that sought to renovate its facilities in order to adequate them to the technological changes experienced in recent years. The building was initially conceived as a residential building, although it was used as the headquarters of this company from the beginning.  Model  Model It was fundamental to understand the functioning of the building, which is located in a characteristic chamfer of the expansion district. Martorell skillfully solved it by placing the humid areas and service patios next to the dividing wall. In the central part of the plan were arranged the staircase and the central patio. The façade is composed by three straight elements, while the curved areas in the corner were solved by the architect using carpentry elements, a solution that he had already used in some well-known buildings in Calle de la Paz, or even in the same Gran Vía de Valencia. In section, the ground floor and the first floor were considered noble, much more comfortable in a building that lacked an elevator and with greater clearance height. Following, there were three more floors with the same characteristics and finally a last floor that was used mainly for storage. Over time and with the need to expand the space, the building grew, incorporating parts of neighbour buildings.  © Diego Opazo  Section  © Diego Opazo Respecting this distribution are the closed offices and the wet nuclei attached to the medians. The rest of the space is used as a landscape office, distributing the departments in the different floors. The central courtyard is partially used to locate the necessary elevator. The protected ladder is completely rehabilitated to return it to its original state. The entrance of carriages on the ground floor is used to locate the reception and on the main floor address offices are located.  © Diego Opazo On the fifth floor there is an outdoor terrace that is enjoyed by the representative floor of the building. At this level, the facade spaces are redefined with greater freedom to take advantage of the sunlight, while the facade of the building is maintained with the original composition, improving the technical conditions of the glazing. In this way the building has a renewed vision and a new useful life more in line with its use, integrating itself in the plot in which it was projected. It allows us to imagine the city in which it was built over one hundred years ago. As in the case of the old flexo, it brings us closer to thinking about how we lived at that time and to assuming the future changes and transformations that are to come to keep the city and the building active.  © Diego Opazo  This posting includes an audio/video/photo media file: Download Now |
| How Did You Finance Your Model-Making and Printing Costs During Architecture School? Posted: 30 Jan 2018 12:00 AM PST  © ArchDaily Architecture is well-known as one of the more expensive professions to study given the high costs for supplies. The fast-paced rhythm of traditional studio courses requires students to present their design ideas using drawings, diagrams, renderings, and collages—usually plotted onto paper—adding to the already high cost of creating physical models. The price tag for studying and practicing architecture is a cost that the entire profession has assumed, for better or worse. If you aren't one of the lucky few residing in a country or state in which education is free, or in which there are significant financial aid support systems, the constant extra cost of building models and printing presentation materials has a big impact. In the best case (and only in cases in which the family is in the fortunate position to do so) parents supplement the extra money need; but in many cases, students must work while studying. What else can you do when you're expected to produce a final project or thesis that can total hundreds or even thousands of dollars to produce? But is this still the case today? Now, almost everything can be realized and shown digitally. Some schools are incentivizing this approach while others remain steadfast in conveying the importance of showing things "off-screen." Plus, even beyond discussions of cost, there is the topic of material waste. What was/is your experience like? How did you fund the full-color plotting, the chipboard, the glue, and copious amounts of tape? Do you think it's something that should be changed?  This posting includes an audio/video/photo media file: Download Now |
| Urban Equipment for Public Spaces Helps to Build a Bike-Friendly City Posted: 29 Jan 2018 10:00 PM PST  Bike Lockers | Reliance Foundry Designing public spaces without considering the circulation and parking of bicycles is no longer an option in today's world. Accessibility for the free traffic of cyclists must also be accompanied by adequate security conditions, incorporating these devices in the best possible way to parks, sidewalks, parking lots, and the streetscape as a whole. Are you designing an urban space, or do the exteriors of your project require a correct link with the circulation of bicycles? Check these support elements that can help you to generate a better city for the urban commuter on wheels. Bike Parking BollardsMade of aluminum, steel, or ductile iron, the bollards allow separating the circulations of cars, cyclists, and pedestrians, at the same time to function as bicycle storage devices. Accommodating 2 bicycles per unit, each bollard can be installed permanently or can be temporarily removed if necessary, depending on how it is mounted on the surface.  Bike Parking Bollards | Reliance Foundry. Image Courtesy of Reliance Foundry  Bike Parking Bollards | Reliance Foundry  Bike Parking Bollards | Reliance Foundry  Bike Parking Bollards | Reliance Foundry Bike Bollard Example / Main Features and Installation OptionsThe R-7972 Bike Bollard is characterized by a minimalist design, with interspersed holes that allow the bike to be tied. This model presents 5 different mounting options.  R-7972 Bike Bollard - 5 Available Mounting Options  R-7972 Bike Bollard - Removable Receiver with Lid  R-7972 Bike Bollard - Removable Receiver with Chain  R-7972 Bike Bollard - Fixed Installation in New Concrete  R-7972 Bike Bollard - Flanged / Surface Mount  R-7972 Bike Bollard - Fold Down Mount Bike RacksIncreasing the storage capacity of bicycles –between 2 and 7–, these stainless steel devices are easily mounted through two points of support.  Commercial Bike Racks | Reliance Foundry. Image Courtesy of Reliance Foundry  Commercial Bike Racks | Reliance Foundry  Commercial Bike Racks | Reliance Foundry Bike Rack Example / Main Features and Installation OptionsThe R-8212 Inverted U-Rack delivers two points of contact with the bike to give greater stability and presents slim dimensions so as not to hinder the space when it is in disuse. This model presents 2 different mounting options.  R-8212 Inverted U-Rack - Embedded Mounting / Flanged Mounting  R-8212 Inverted U-Rack - Bike Rack Spacing  R-8212 Inverted U-Rack - Embedded Mounting  R-8212 Inverted U-Rack - Flanged Mounting Bike LockersTo achieve the greatest possible safety when parking, there are urban lockers that protect bicycles against weather conditions and vandalism. Made of heavy-duty plastic, each module withstand high impacts and can be grouped in different geometric shapes, adapting to its surroundings thanks to its triangular shape.  Bike Lockers | Reliance Foundry. Image Courtesy of Reliance Foundry  Bike Lockers | Reliance Foundry  Bike Lockers | Reliance Foundry  Bike Lockers | Reliance Foundry  This posting includes an audio/video/photo media file: Download Now |
| Delgada 1 / Camarim Arquitectos Posted: 29 Jan 2018 09:00 PM PST  © Nelson Garrido
 © Nelson Garrido Text description provided by the architects. Our customers purchased a garden house in Delgada, a village that is 75km away north of Lisbon, and we were asked to renovate the house and add a pergola with a pool to the garden. Being an order for an interior renovation and a new building, we decided to consider them as 2 different projects: this project concerns the new building.  © Nelson Garrido The house, surrounded by a large lawn, combines materials and decorative elements of varied origins in search of a certain dignity and solidity. We intuitively reject any idea of dialogue with this house, but it would not be convenient for the pergola to be too far from it. There were, near the kitchen door, two trees over the lawn. We placed the pergola between the trees, parallel to the house, aligned with the front porch. The pool, following the pergola, rushes over hills cultivated with vines, apple trees and pines to the south, leaving the neo-rustic world behind.  © Nelson Garrido The careful consideration of the geography, garden and house did not lead us to an osmosis process, on the contrary: pergola and swimming pool form a massive, symmetrical and repetitive set that could be older than everything else. The pergola constructs a particular atmosphere, simultaneously domestic and permeable, robust and sensitive. The pool, coated in pink marble, unexpectedly cuts out the concrete and prints an electric turquoise tone in the water.  Implantation We try to work only with fundamental architectural elements, combining them in a way that is not classic or baroque, old or modern, but all in unison. We seek that light, shadows, context close and far away, participate, as much as concrete and stone, in the construction of this atmosphere. We are interested in the ability of architecture to provide a living perception of each moment and simultaneously the consciousness of a time scale that transcends us.  © Nelson Garrido  This posting includes an audio/video/photo media file: Download Now |
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