Arch Daily |
- Garden Pavilion in Museu de Serralves / Diogo Aguiar Studio
- Villa Poorkan / ZAV Architects
- GCP Wood Cabins Hote / Atelier LAVIT
- Slow House / KDDH
- D’Entrecasteaux House / Room11 Architects
- This Medieval Town is Built Inside a Crater and Composed of Millions of Diamonds
- Collection Meters Look to Help Curb LA's Homelessness Epidemic With Spare Change
- Window on the Lake / YH2
- 11 Houses With Incredible Cantilevers
- Fumihiko Maki On The Importance of Conscious Design-Making in Design
- ICA Miami Museum / Aranguren&Gallegos Arquitectos
- Futuristic Illustrations Show What Architecture and Construction Will Look Like in 2030
- Cç Sacramento Building / João Tiago Aguiar
- Greville Road Studio / Syte Architects
| Garden Pavilion in Museu de Serralves / Diogo Aguiar Studio Posted: 18 Feb 2018 09:00 PM PST  © Francisco Nogueira
 © Fernando Guerra | FG+SG Text description provided by the architects. By the occasion of the exhibition Live Uncertainty: An Exhibition after the 32nd Bienal de São Paulo, Diogo Aguiar Studio was selected to design one of the ephemeral pavilions to host the selected films to be displayed in the Serralves Museum of Contemporary Art gardens.  © Francisco Nogueira  © Francisco Nogueira The discovery of the temporary structure in the Serralves gardens is achieved by three distinct moments: the recognition of a habitable space, a transition path and the projection site. The circular pavilion features an abstract skin, a continuous facade across its curved surface, built on four levels of vertical wooden planks.  © Francisco Nogueira  Elevation  © Francisco Nogueira Without assuming one main entrance, the outer façade, which may be entered from three different points, divides the entrance into the pavilion by its perimeter, thus fostering different accesses and relationships with Serralves gardens.  © Fernando Guerra | FG+SG Crossed by sunlight, the built structure projects over itself causing curved shadows that meander around the central façade, creating different shadow-drawings as the day passes by.  © Fernando Guerra | FG+SG  Floor Plan  © Fernando Guerra | FG+SG Building on the cylindrical spatiality, that also emphasizes the centrality of the work on display, the design of the pavilion focuses on the construction of two concentric spaces that have distinct functions: the interstitial space and the central space.  © Francisco Nogueira Contributing to the control of natural light in the interior space, the juxtaposition of two façade-plans, curved and parallel, which alternately open double-curved arc spans, guides the visitor to walk through the immersive space of mediation – as an antechamber-path – without revealing the central nucleus – as a space-enclosed – from the outside – the projection place where the film Os humores artificiais.Abrantes is shown.  © Fernando Guerra | FG+SG  This posting includes an audio/video/photo media file: Download Now |
| Villa Poorkan / ZAV Architects Posted: 18 Feb 2018 07:00 PM PST  © Soroush Majidi
 © Soroush Majidi Text description provided by the architects. The Poorkan villa used to be an abounded building. Our clients (Mojdeh Ghodousi and Ali Kamran) decided to build a villa on their inherited land. Instead we encouraged the proposition of renovating the existing building on the on.  © Soroush Majidi We intended to recycle the space, in order to bring it back to the cycle of useful, contemporary spaces. Our clients were requiring a villa as a space for themselves and their friends to get to gather and enjoy sometime away from the daily life, a space for a modern lifestyle in which inside the circle of friends people are as close as family members to one another. The villa is a place for the family to spend time together with their loved ones, to collect the positive energy and to enjoy the pleasant weather of the countryside. Once there was an abandoned second house with fruit trees garden located in the village of Poorkan just 45 min drive from Tehran, in the mountainous landscape of Alborz. A building like many thousands of similar empty low quality buildings scattered all over Iran, waiting to be demolished and rebuilt.  © Parham Taghiof We didn't follow this socially and economically unsustainable fashion; instead aiming for a recycling of the potential spatial capital that resided in the buildings' 150 square meters. Therefore the project was defined with three main strategies: to rehabilitate the villa with local technology and workforce, keeping the existing structure, to integrate the open and closed spaces to their fullest having the flow of air from the garden to the most intimate space of the villa, and to reach an Iranian space with light, shadow and color under the clarity of pure geometry adapted to the structure.  Section The villa was thence materialized into a temple-like white space reinterpreting some principles of Iranian architecture. Principles of plasticity in form with clear geometry and structure was achieved by two sword-like cuts that provide a continuous clear-cut space from the staircase to the ceiling(s), and the principle of delicate interplay of light, shadow and color in the interior by using the Sedari- (meaning three doors) a traditional architectural element- in a new way. The Sedari also does the task of unifying the interior with the garden, letting the air to belong to both.  © Soroush Majidi The building volume consists of three interrelated spaces in two levels. The entrance on the northern side of the villa leads towards an open space ornate with light and shadows coming from the Sedari. The ground floor is elevated through a staircase into the space of ease and serenity in which exists two wide steps performing as resting platforms that one can lie on and spend some quiet time.  © Soroush Majidi The Sedari is the anchor of the villa. It functions as it used to traditionally: as the sunlight reaches the colorful windows of the Sedari, the white interior is being clad by red, green and yellow lights, moving up the walls, crawling down the ceiling and lying on the floor, creating a dynamic immaterial ornamentation, changing the spatial ambiance as the day goes by. But it also functions in providing a more contemporary spatial quality due to its large scale: it brings full transparency and the possibility of turning the whole interior into a large balcony with its oversized door-windows.  © Soroush Majidi Poorkan villa's benefit to the Muslim community is inherent in its spatial qualities and its approach to vividly reuse the traditional spatial capital and bring it back to the cycle of space making. In this way confirming that the Iranian community can be proud of their contemporary art and architecture, without remaining in a state. Considering the limited budget of our client for this project, we benefited from reusing the existing space as a base and intended to revitalizing it, with the aim of local construction material and easy technology. The project was quickly realized its key constructional intersections were checked properly.  Ground Floor Plan As of today the villa is not only in use by the client and her friends during the weekends, but also she is planning to once in a while, let the tourists and visitors to stay there. Considering the main proposal which was to renovate the old building instead of demolishing and rebuilding it, we decided to justify the existing space with the principles of a pioneer Iranian geometry.  © Soroush Majidi Therefore with the idea of briefing the project with two trigonometric sections, it was important to reach clear intersection points. It was an initial matter to have different layers of material with different thicknesses lying on top of each other, while the clear sword-like cuts of the space stay perfectly executed. In general the construction materials used in this project are coming from Iran and easily available. The contractors and master craftsmen from Iran and Afghanistan developed this project with the tools of shop drawings and primavera programs to be able to control our time and footprints. The over scaled doors of the south façade (the Sedari) is rotatable from the center point. The steel frames of the windows have an extra layer of CNC steel sheets, for them to be thicker and stronger. This process was actualized by Mr. Shirzad in Tehran.  © Soroush Majidi Mr Mohamadreza. Sedighi who manufactured the large colorful glasses in Karaj, have also made them double glazed with colorful Plexi sheets, where needed. All the local contractors were very respectful and reliable. The most important impact is reaching to the strategy of reuse and reconditioning of the existing spaces and to avoid demolition and construction of the new builds.  © Soroush Majidi Due to an unsustainable economy (oil based economy) in Iran many new buildings are being constructed. On one hand this process creates jobs for many people and on the other hand due to mismanagement, the number of empty buildings without any spatial quality is increasing. We emphasize on the potential value of leftover spaces, waiting to be revitalized. We are intending to drag the attentions to this forgotten national wealth that exists besides the high-end architecture. Poorkan villa is not a large scale project but it reaches to the optimum of spatial quality. It is a physical manifestation of our idea.  © Parham Taghiof Poorkan villa is a leftover space which has been recycled and transformed into an Iranian and poetic piece of architecture. Iranians and in a bigger scale the Muslim community, would be able to feel confident in such a space. It can change the cultural habit of demolishing and materializes an alternative for an Iranian contemporary space.  This posting includes an audio/video/photo media file: Download Now |
| GCP Wood Cabins Hote / Atelier LAVIT Posted: 18 Feb 2018 06:00 PM PST  © Marco Lavit Nicora
 © Marco Lavit Nicora Text description provided by the architects. The Eco-hotel is located in a fishing reserve in Avignon, France. The 10 suites evoke primitive buildings on the shore of the lake; floating on the water like rafts or on pilots like palafittes. The architectural work perfectly matches with the lacustrine tubes from which it resumes and rationalizes the elegant vertical thrust. The different densities of the vertical wooden screens around the hut guarantees the privacy of its customers as well as repairing them from the sun and the wind.  © Marco Lavit Nicora Building on a lake surrounded by vineyards in the south of France is a challenge. In a magical and untouched place like the Mediterranean maquis, nature is the only protagonist of the scene. The imperative for the architect remains the absolute symbiosis with the existing landscape. Clients have envisioned this eco-lodge project choosing as a location an incredible fishing reserve in Châteauneuf-du-Pape, a few kilometers away from Avignon.  Floor Plans 10 suites, simple but sophisticated, reminding of primitive constructions in lake reeds: floating on the water like rafts, on pilotis along the banks like real palafitte or underground, like a troglodyte dwelling, the eco-lodges of the Grands Cépages rise along the lake of La Lionne, always preserving the privacy of the inhabitants.  © Marco Lavit Nicora The architecture of the lodges dialogues perfectly with the lake reeds, taking up the vertical and elegant upward momentum and then rationalizing their arrangement, much more geometric, regular and repetitive. In this way the hut remains hidden by a wooden filter, like a light screen, that in addition to being the same structure for the parapets and the pergola, filters the direct view on the terraces of each lodge.Those vertical screens are of different densities and they allows to shelter from the sun and the wind.  © Marco Lavit Nicora The change of the seasons and the hours of the day constantly transform the presence and the dynamics of the hut with the landscape. With leaf trees, the architecture integrates with the landscape in a perfect camouflage. In winter instead, with the earth and the lake gathered under a blanket of snow, the vertical lines of the battens are reflected on the water. During the day, the experience inside the suite is a play of light and shadow with the sun filtering through the screening, projecting motifs always moving on the floor. Random gaps provide abstract images of vegetation, lake and sky. After sunset the effect is reversed, immersed in darkness and illuminated only by the moon, the hut evokes a lantern, radiating the internal golden light between the wooden slats.  © Marco Lavit Nicora In order to simplify the unforeseen in a remote site, the project was largely prefabricated in a wood workshop. The components were numbered, dismantled and rebuilt on site in 3 months. Prefabrication reduced production costs and on-site costs during installation, impacting the landscape as little as possible.  © Marco Lavit Nicora  This posting includes an audio/video/photo media file: Download Now |
| Posted: 18 Feb 2018 04:00 PM PST .jpg?1518780953 "© Kim Yong-soon") © Kim Yong-soon
.jpg?1518781652 "© Kim Yong-soon") © Kim Yong-soon Text description provided by the architects. The Slow House located in the Innovation city in Ulsan is situated in the rectangular site with 8 meters-width road at the northwest side facing the foot of Mt. Hwangbang. Since it is expected that there will be a lot of car traffics and mountain climbers, it is necessary to design a plan which protects user privacy. Therefore, the design was started with the intention of separating a private area with a public area. First, the shape of the mass was decided as a form wrapping the space and embracing the mountain. And, the lower part of the piloti resulting from the form of the mass is used as a buffer zone where the private area and the public area are separated. .jpg?1518781299 "© Kim Yong-soon") © Kim Yong-soon The inner space of this house is roughly separated into three hierarchies: a family area, children area, and couple area. In order to clarify these hierarchies, the concept of the staircase was used. .jpg?1518780915 "Diagram. Image Courtesy of KDDH") Diagram. Image Courtesy of KDDH The family area located at the lowest part of the house includes a kitchen, dining room, and others for the purpose of the family activity. In order to embrace various programs in small size area, a skip floor plan that is dislocated every half story was planned instead of a traditional method that separates spaces using walls and furnitures. Through the skip floor plan a large volume space compared to the size of the area could be obtained. And, the Growing Light was installed to fill the emptiness, giving the sense of the center to the space. Once approaching to the second floor via the staircase, a study room, the first buffer area, is seen. Through this study room a space where it is possible to look down the living room and communicate each other was made. Also, it was planned that the children can pass through the family area by arranging the bedroom where such a formation can be seen. .jpg?1518781460 "© Kim Yong-soon") © Kim Yong-soon Each room has a small size, but, has a different shape of a ceiling to form a unique feeling of space. Again, the staircase leads you half story up to the second buffer area. The low corridor divide the space for parents and children, and it is also used as an approaching area for a bathroom. .jpg?1518782171 "© Kim Yong-soon") © Kim Yong-soon This area for the husband and wife is separated very far from other spaces at the highest location, but it is possible to control the children and family area anytime. And, an attic is located at the end of the staircase. Somehow large-sized attic can be used as a separated space for children and guests. The space for children in the attic has a small window toward the living room, enabling to communicate.  Section 02 The moving path in the Slow House was planned to go up following by the staircase and the corridor. However, each room is open toward the space for the family, making the house to have a feeling of large space. .jpg?1518782289 "© Kim Yong-soon") © Kim Yong-soon  This posting includes an audio/video/photo media file: Download Now |
| D’Entrecasteaux House / Room11 Architects Posted: 18 Feb 2018 12:00 PM PST  © Ben Hosking
 © Ben Hosking Text description provided by the architects. Bruny Island sits across the narrow D'entrecasteaux Channel which separates it from the Tasmanian mainland. Accessible only by boat, Bruny is a remote and beautiful landscape. The island is a traditional holiday destination for Hobartions and is increasingly becoming an international destination for more discerning cool climate connoisseurs. Our clients, a professional couple, approached us after purchasing the land with a view to building a permanent residence. With family members owing adjacent properties, our clients was intently aware of the need for the architecture to reconcile the need to orient for light and view, but also provide protection from offshore winds and glare from the expansive water plane. Replete with devastating panoramas, the site was nonetheless exposed. Winds buffet the angled terrain and the glorious light is at times too demanding for the eyes.  © Ben Hosking In parallel to this physical need for protection, the remote location brought a psychological need. The home had to provide a reassuringly solid and contained presence, company for a remote and beautiful existence. These two factors led to a dialogue about security, permanence and belonging. Tasmania is notable, in geological terms, for its Dolerite, which is around 180 million years old. Our clients are a family including two geologists and therefore stonework fitted well with our architectural inclinations and the families' professional interests.  © Ben Hosking The resulting high stone walled outer skin, and a light, taut, timber interior, contain the traditional functions of a home. These contrasting built elements satisfy both the physical and psychological need that the location demands of the architecture. The modest house employs an inflected non-orthogonal plan where massive stone walls encompass light timber-lined living spaces. The black stained timber interior provides relief from the blisteringly bright Tasmanian light and projects the occupant into the landscape beyond. Large sliding timber doors open to the northern light and a large deck which overlooks the channel and mountain range beyond.  © Ben Hosking  Floor Plan  © Ben Hosking Service functions are wrapped up in shiny black boxes. The kitchen island bench sits as a crisp blunt monolith. Black bathrooms feature generous skylights and full height tiling. Full width mirrors double the perceived space of these carefully designed interior volumes. Bespoke glazing details are used throughout the residence. Double-glazed argon gas units provide thermal performance commiserate with the cool temperate climate. The house harvests rainwater and recycles wastewater onsite. D'Entrecasteaux House has a simple pallet, dark within a pale stone exterior. The orientation of face-fixed bespoke glazing focuses attention upon specific elements of the landscape, providing an opportunity for repose.  © Ben Hosking  This posting includes an audio/video/photo media file: Download Now |
| This Medieval Town is Built Inside a Crater and Composed of Millions of Diamonds Posted: 18 Feb 2018 08:00 AM PST  © <a href='https://www.flickr.com/photos/120282578@N03/13137177895/'>Flickr user Laurent Bernier</a> licensed under <a href='https://creativecommons.org/licenses/by-nc-nd/2.0/'>CC BY-NC-ND 2.0</a> From the greystone of Montreal to the limestone of Jerusalem, every city has its own iconic identity read through the city's urban fabric. Scanning the architecture of the 1,110-year-old German town of Nördlingen, the timber frame homes, red pitched roofs, and winding streets appear identical in almost every regard to many quaint medieval communities populating the European countryside. While the town's appearance in the 1971 classic Willy Wonka and the Chocolate Factory may seem like its most notable claim, there is something entirely unique about the architecture of this south German locale. Nördlingen is literally made of diamonds—millions of microscopic diamonds to be exact—with the town itself constructed within an ancient impact crater.  © <a href='https://www.flickr.com/photos/24736216@N07/6269270534'>Flickr user Roger W</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> The 25 kilometer-wide Reis crater in which the town sits was formed approximately 15 million years ago after an asteroid collided with this region of Bavaria. In addition to leaving the indentation where the town was built, molten rock was tossed into the air from the immense pressure of the impact causing the existing rock to form diamonds. This collision also resulted in the creation of a coarse-grained rock containing crystal, glass, and diamond known as suevite. Around 900 A.D., the first settlements began in the area though it was not until the Middle Ages that the fortified walls surrounding the town were constructed. Gathering the nearest available material, masons quarried the local suevite. For centuries, the citizens of Nördlingen had believed the depression housing the town to be a volcanic crater unaware of the gemstones embedded in very fabric of their community.  © <a href='https://pixabay.com/en/n%C3%B6rdlingen-city-homes-truss-2243883/'>Pixbay user FelixMittermeier</a> licensed under <a href='https://creativecommons.org/publicdomain/zero/1.0/deed.en'>CC0 1.0</a> While unknowingly constructed inside the crater, geologist Eugene Shoemaker finally confirmed the site was the result of an asteroid in the 1960s and by the 1970s, scientists had analyzed the surrounding rocks to discover that they held more that 72,000 tons of diamond. The Church of St. Georgs, the tallest structure in the town, is constructed entirely of suevite and contains approximately 5,000 carats of diamond. However, the largest gemstones are 0.3 mm and can only be observed with a microscope. Yet the diamond-clad stone structures are said to catch the sunlight, rendering the buildings in a soft glimmer.  © <a href='https://www.flickr.com/photos/zongo/4078784460/in/photolist-7dqQw1-7dmYoK-7dmYk4-5sNMCf-5sJnrn-5sJnGD-5sNMmQ-5sJnnv-5sJnC2-CEVDF-ojYHUy-nfgVVk-nfi7Zc-nfgY8r-nyyb4X-nwuapt-5G2SB6-oBc8M6-ojYDUa-nwwx11-nyyj8n-ojYURo-oBrM17-CEVDK-oBcBRH-ojYRaL-5G7997-5G2SzT-nSu3W2-nyxH9e-5G2SEr-oDeBgF-cqSjns-ezoZ8J-cqShRC-cqSiaq-nwuxd8-nwNqTw-5G79gb-oBcNqZ-p9LmXS-FUJNFa-nyyMqi-nUB4DM-nT2Azu-oQewXT-nwPeBb-oBtD1t-nFjgps-CEVDT/'>Flickr user DAVID HOLT</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> Today, the sleepy Bavarian town of over 19,000 people houses the Reis Crater Museum, Bavarian Railway Museum, and guided tours of its sparkling architecture. The city's iconic suevite fabric continues to draw tourists from all over the world as well as researchers from NASA and the European Space Agency. News via: Interesting Engineering.  This posting includes an audio/video/photo media file: Download Now |
| Collection Meters Look to Help Curb LA's Homelessness Epidemic With Spare Change Posted: 18 Feb 2018 06:00 AM PST  The Downtown Los Angeles meters will resemble those installed in Pasadena. Image via Curbed LA Homelessness is a pressing issue faced by many cities across the globe. But, could the logistics of parking potentially assist in alleviating this epidemic by supporting community-based initiatives? In Los Angeles County, where an estimated 58,000 people are homeless, city and county officials recently released six meters designed in collaboration between community advocacy organization the Flintridge Centre and the office of City Council member Jose Huizar to collect charitable contributions as opposed to parking fairs. The bright orange collection meters, almost identical to their parking counterparts, will be situated in Downtown LA: two currently located in Grand Park with the remaining four to be installed around the El Pueblo de Los Angeles Historic Monument. To prevent confusion with existing meters, the new designs will be set back from the street and accept both credit cards and coins. The Flintridge Center has previously worked on similar meter donation programs in Florida, Pasadena, and West Palm Beach as part of their project The Real Change Movement. Installed in 2014, The Pasadena meters have collected approximately $16,000 in donations so far that have gone directly to support formerly incarcerated individuals. Aside from cash donations, the meters will also generate revenue through annual sponsorship of $3,500. The meters installed in Grand Park have been sponsored by Huizar and County Supervisor Hilda Solis. Like the remaining donations from the six LA locations, these funds will go directly to supporting the C3 program based in the city's Skid Row neighbourhood—containing one of the largest stable populations of homeless individuals in the United States. Standing for City, County and Community, the program coordinates public and private resources to assist Skid Row residents in securing permanent housing. Though proposed five years ago as a method of encouraging the public to donate directly to programs that help solve homelessness, the City of West Hollywood has only recently installed its own set of meters with Downtown LA following suit. While billed as a prototype, projects like the collection meters are part of larger initiatives attempting to make "real change" in the city. As Huizar told the Los Angeles Daily News, "My hope is this will be a model we can use to increase donation meters throughout the city and county." News via: Curbed LA and Los Angeles Daily News.
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| Posted: 18 Feb 2018 05:00 AM PST  © Francis Pelletier
 © Francis Pelletier Text description provided by the architects. A window on the lake: the very essence of the cottage. A warm, simple wood dwelling open to nature and a peaceful lake.  © Francis Pelletier The house stands on the site of an old family cottage, just steps away from the shores of Lac Plaisant in the Mauricie region. Thanks to its simplicity, restraint and refinement, the project embodies the architect's attempt to capture the essence of cottage life – a wooden home designed for vacations and enabling true communion with nature.  Sections / Plan Featuring wood construction inside and out, the house's single large gable covers all living spaces.  © Francis Pelletier Sited in a small clearing, its foundation invisible, the home is a pure, light volume resting on a grassy carpet.  Sections / Plan Its architecture is restrained and its scale modest, in tune with the clearing and lake. The exterior, both roof and walls, is clad entirely in white cedar boards. Both of the building's long sides feature three large, tall glass panels, allowing seamless transitions between interior and exterior spaces.  © Francis Pelletier The south side is all glass, creating a direct link between the lake and the living spaces, arranged under a large double-height gable extending outward to cover a small porch. The full transparency of the southern façade lets in ample sunlight in fall and winter, while the mature trees standing between house and lake moderate the summer sun and provide a high degree of privacy in boating season.  Sections / Plan The balloon frame, with its exposed wooden studs and joists painted white, gives the building a unique rhythm of shadow and light. The cottage has a relaxed character. It is a true family cottage that can sleep up to 12 in two ground-floor bedrooms and a large, open sleeping area on the second floor.  © Francis Pelletier This is the cottage as an expression of the art of living: a gentle, simple, pure way of life.  This posting includes an audio/video/photo media file: Download Now |
| 11 Houses With Incredible Cantilevers Posted: 18 Feb 2018 04:00 AM PST  © Cécile Septet Cantilevers, structures that protrude from a building without the need for supports, are highly popular not only for their dramatic aesthetic effect, but also for the demonstration of technical mastery involved in their development. But we rarely see cantilevers in housing. For this reason, in this installment of our Photos of the Week, we have made a selection of 11 houses that seem to defy the physical laws of construction. Keep reading to see photos of renowned photographers such as Cécile Septet, Ema Peter, and Juan Solano. Edmund SumnerBalancing Barn / MVRDV © Edmund Sumner Ivan HunterRusset Residence / Splyce Design © Ivan Hunter 45g PhotographyHouse in Yatsugatake / Kidosaki Architects Studio © 45g Photography Adrien WilliamsThe "Blanche" Chalet / ACDF Architecture © Adrien Williams Ema PeterSyncline House / Omar Gandhi Architect © Ema Peter Juan SolanoA House Forever / Longhi Architects © Juan Solano Joon Hwan YoonGuest House Rivendell / IDMM Architects © Joon Hwan Yoon Sergio PirroneCaterpillar House / Sebastián Irarrázaval © Sergio Pirrone Martin GardnerThe Quest / Strom Architects © Martin Gardner Satoshi AsawakaFly Out House / Tatsuyuki Takagi Architects Associates © Satoshi Asawaka Cécile SeptetHouse In Sèvres / Colboc Franzen & Associés © Cécile Septet  This posting includes an audio/video/photo media file: Download Now |
| Fumihiko Maki On The Importance of Conscious Design-Making in Design Posted: 18 Feb 2018 01:31 AM PST Begin to understand the inner workings of Fumihiko Maki's architectural mind in PLANE—SITE's latest short film from their Time-Space-Existence series. Each film focuses on the different principles which drive the practice of famous architects. Maki is known for being experimental with materials and fusing east and west culture.  4 World Trade Center. Image © Tectonic
Rather than focus on creating things that have never been seen or done before, Maki notes that his team focuses on human behavior: what users may like or not like. More specifically, Maki discusses the similarity and differences between children's behavior across cultures and how they can inform design.  MIT Media Lab. Image © Anton Grassl Once a month leading up to the GAA Foundation's Time-Space-Existence exhibition at the Venice Architecture Biennial in May 2018, PLANE—SITE publishes a short video interview with a prominent architect. See the following links for previous episodes featuring Kengo Kuma, Tatiana Bilbao, Arata Isozaki, and Richard Meier. News via: PLANE—SITE.  The Aga Khan Museum in Toronto. Image © Shinkenchiku Sha  This posting includes an audio/video/photo media file: Download Now |
| ICA Miami Museum / Aranguren&Gallegos Arquitectos Posted: 18 Feb 2018 01:00 AM PST  © Iwan Baan
 © Fredrik Nilsen Text description provided by the architects. The new Headquarters of ICA MIAMI Foundation is a museum that offers itself to the city and is conceived to become an international artistic reference and an icon of Miami's cultural offer. The architectural tool used to achieve this target is based on a luminous cubic volume, as a "Magic Box", a "Boite à Miracle", open on its two north and south fronts through two perforated and reflective facades.  First Level Plan  © Iwan Baan  Axonometric In the southern facade, the main entrance appears as a transverse passage, which is the lobby of the museum and connects us with the sculpture garden, located in the north of the site. The southern facade is metallic, aluminium, bright, solar, mirror and announcement of the events that will be held at the museum. It is closed, protecting the exhibition halls from the direct solar radiation of the south. The facade is pierced by luminous small openings that respond to a triangular geometry, a consequence of the evocative fracture of the lateral movements of the strong hurricane winds. Underneath the metallic plane, floating, a horizontal strip is created on street level, a shadow where the letters of ICA MIAMI appear, large and deep, like the columns that support the building.  © Iwan Baan The museum opens to the north with a glass facade, giving natural light to the halls and being the holder for installations and temporary artistic creations made with different illuminations or vinyl adhesives on the glass. The exhibition halls are neutral, white, bright spaces with the sufficient height for large format installations. The museum complex is complete with an exterior space, the "Garden of Sculptures", conceived as a large outdoor exhibition hall.  Courtesy of Aranguren&Gallegos Arquitectos  Section  © Iwan Baan  This posting includes an audio/video/photo media file: Download Now |
| Futuristic Illustrations Show What Architecture and Construction Will Look Like in 2030 Posted: 18 Feb 2018 12:00 AM PST  via MIT Technology Review In a world where technology is at the forefront of our lives, it's hard to imagine that many of the jobs that are available now did not exist 10 years ago; uber drivers, social media managers, app developers and even the job of an ArchDaily writer would have seemed an abstract concept! As technology advances further, even more job positions will be created and others left behind, leaving it open to speculation as to what will come next. It is almost impossible to predict the future, but digital agency AKQA and Mish Global have attempted the impossible and envisioned several potential jobs in the design and construction industry in 2030 following inspiration from several panels they attended at the World Economic Forum. With the speed of changes over the last decade, they don't seem too far from reality either.  via MIT Technology Review In recent years, we have seen the destruction of many important pieces of architecture. Buildings such as Robin Hood Gardens in London, and Chicago's Prentice Women's Hospital have faced the wrath of the wrecking ball and the work of the architect is lost forever. In the fight to preserve timeless architecture, the artists have imagined the job of a national identity conservationist to scan the buildings to digitally preserve them in case fate shortens their lifespan. Similar work has already been seen in Iraq, where lasers have been used to preserve the ancient ruin of Babylon threatened by ISIS. The second job AKQA and Mish Global conceived is a superstructure printer – 3D printing on steroids. 3D printing has become a 21st-century phenomenon, making an impact across multiple industries, pair that with cranes and it has the potential to bring skyscraper construction to a whole new level. Among other things, the artists imagined a landfill recycler that included a trash-devouring worm-machine and remote robotic surgeons. The entire list of jobs they have predicted for 2030 can be found in the article here. News via: MIT Technology Review.
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| Cç Sacramento Building / João Tiago Aguiar Posted: 17 Feb 2018 09:00 PM PST  © Fernando Guerra | FG+SG
 © Fernando Guerra | FG+SG Text description provided by the architects. The building is located in Calçada do Sacramento, in Chiado, in the heart of the city. It is a building of Pombaline origin which was highly degraded and with its structural system already much altered. It is composed by 4 floors above the ground plus 1 attic floor. On the ground-floor, operated the old "Panificação do Chiado", whose elevation is classified.  © Fernando Guerra | FG+SG  First floor plan  © Fernando Guerra | FG+SG The main goal was to keep the commercial use of the ground-floor and design different typologies for the upper floors, namely one 3 bedroom apartment for the 1st floor, one 1 bedroom and one 2 bedroom apartments for the 2nd floor and two 3 bedroom duplexes on the 3rd floor together with the utilization of the attic. To improve the comfort a lift was placed in the stairwell. The original look of it was kept despite the introduction of the new body with iron structure painted in black but totally transparent. The entrance hall was reorganized in order to present a clear and clean space, concealing the entire technical and garbage areas.  © Fernando Guerra | FG+SG On the rear elevation verandas and French windows were introduced in order to optimize the enjoyment of the views and of the natural light. Two large dormers were introduced on the roof at the back and five smaller at the front with its respective terraces with exceptional views over the city, namely the Baixa Pombalina and the Castelo S. Jorge. The whole attic, once a gloomy and concealed space was pretty much improved by adding the new dormers on both façades, which allowed the abundant entrance of natural light and better views.  © Fernando Guerra | FG+SG  Section C  © Fernando Guerra | FG+SG The apartment of the 1st floor with access to the patio benefited from an outside space of large dimensions, overlooking the city. The apartments in general have very generous ceiling heights, which associated to the restoration of the original ceilings and crown moldings in decorated stuccoes revived the nobility of the building. Indirect lighting was placed in crown moldings exalting the decorative elements. By designing doors, bookshelves and wardrobes up to the ceiling the wide scale of the spaces was highlighted.  © Fernando Guerra | FG+SG A dialogue between the elements of contemporary architecture (in particular the open kitchens and hidden bathrooms) and the classic and traditional elements of the building was promoted. In the duplexes the private areas were placed on the lower level and the social ones on the upper level, promoting the livingness of the terraces and the relation of the living areas with the best views.  © Fernando Guerra | FG+SG The care with the intervention also went through the structural reinforcement approach which always tried to use and reinforce the existing elements instead of the full replacement of the original constructive system.  © Fernando Guerra | FG+SG  This posting includes an audio/video/photo media file: Download Now |
| Greville Road Studio / Syte Architects Posted: 17 Feb 2018 06:00 PM PST  © James Morris
 © James Morris Text description provided by the architects. The studio at Greville Road dates from the late nineteenth century and was once the work place of the sculptor Willi Soukop. The current owner is the artist Ben Pulsford and he has used the studio for the last twenty years. The requirement of the brief was for the creation of additional work space together with plenty of storage for his canvases and materials.  © James Morris The project entailed the insertion of a floating mezzanine into the seven-metre vaulted studio space. The new floor was designed so that it kept free of the perimeter walls and kept clear of the tall studio doors. Glass floor panels run along two sides of the mezzanine to maintain the sense of openness.  Section The new staircase was conceived to be an integral part of the large storage unit and read as one entity. The spacing of staircase treads established a module which formed the rhythm of the whole storage unit. These developed into a series of vertical fins that could be inhabited in various ways for the storage of paintings and materials. Double depth storage is available under the first flight, slimming to a single depth under the upper flight. The entire storage unit is constructed from birch-faced plywood.  © James Morris The listed building officer from Camden supported the continued evolution of the space as a living working artist's studio, able to adapt to the occupant's requirements  © James Morris  This posting includes an audio/video/photo media file: Download Now |
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