Arch Daily |
- Pinheiros House / Felipe Hess Arquitetos
- Civic Centre Lleialtat Santsenca 1214 / HARQUITECTES
- Putsegården / what! arkitektur
- Private Villa in Ungasan / Rafael Miranti Architects
- Atelier Chaeyeon / L'eau Design + Dongjin Kim
- Deja vu House / Nemo Studio
- University of Auckland Science Centre / Architectus
- House Frances / THOSE Architects
- UNStudio Wins France's Largest Private Architecture Competition for Cultural Cinema Center in EuropaCity
- 2018 Pritzker Prize To Be Announced March 7th
- Salesforce Tower / Pelli Clarke Pelli Architects
- Sou Fujimoto Architects' Terracing Learning Center Wins Competition at University of St. Gallen in Switzerland
- Alma Creative Club / Tham & Videgård
- SOM's Iconic 270 Park Avenue At Risk of Becoming the Tallest Building Ever to Be Demolished
- Joya Villas / Studio Saxe
- Here's What the Alphabet Looks Like When Converted into Baroque Palace Designs
- Fundamental Sciences Division Building / METRO Arquitetos
- Architecture as Experiential Marketing: The Surprisingly Bright Olympic Pavilion by Hyundai and Asif Khan
- Future Campus – University College Dublin International Design Competition
- The Best Chinese Architecture of 2017
| Pinheiros House / Felipe Hess Arquitetos Posted: 22 Feb 2018 09:00 PM PST  © Ruy Teixeira
 © Ruy Teixeira Text description provided by the architects. The house, in the neighbourhood of Pinheiros in São Paulo, is composed of blocks distributed in three floors. In the main block is located the living room and dining room, double high ceiling, open to the library, on the second floor.  © Ruy Teixeira A unique bookcase permeates all the library extension, housing the collection of books of the family, which can be seen by the people standing in the living room on the ground floor.  © Ruy Teixeira  Ground Floor Plan  © Ruy Teixeira It is crossed by the service block, a concrete box which is highlighted on the intern facade, composing a balcony to the kitchen, which works as an eating area also. On the third floor are the room and the wardrobe more private, which gives access to the superior deck.  © Ruy Teixeira The integration of the house is marked by the relation of the spaces with each other and by the windows, double high ceiling, and sea ladder, but also with the relation that keeps with the garden in the bottom: the big glass doors enable the total opening of the spans, integrating the kitchen, living room, and library to the backyard.  © Ruy Teixeira  This posting includes an audio/video/photo media file: Download Now |
| Civic Centre Lleialtat Santsenca 1214 / HARQUITECTES Posted: 22 Feb 2018 07:00 PM PST  © Adrià Goula
 © Adrià Goula Text description provided by the architects. Three starting points: understanding the historic value of Lleialtat Santsenca (1928),an old working-class cooperative in the Sants neighborhood; knowing to the detail the building's (physical) state to maintain as much as possible; and being sensitive to the whole collaborative process launched in 2009 by neighborhood organizations to recover the building. To this end, four basic objectives were set out: first, taking advantage of everything that could be used from the original; second, defining an intervention strategy marking out the essential actions, conservative or not, allowing to recover and increase the potential uses of all those spaces; third, to establish an intensive dialogue – and tense, if due – with context; and fourth, to develop a sustainable proposal, regarding the work on the existing as well as the new interventions.  © Adrià Goula  Ground Floor Plan  © Adrià Goula The building consists of three structural bodies: the main one, onto Olzinelles and Altafulla streets, houses the two main halls (old shop on the ground floor and atrium on the first floor); the central one, with access from Altafulla street; and the interior one, without access from the street, which is L-shaped. The precarious hygiene conditions in the rest of the constructions, besides their being poorly connected, encouraged to propose a large longitudinal void, joining the three volumes and all their spaces – new and old – through a gradual progression, from the more public to the more private spaces. The void results from completely demolishing the centerline near the party wall to Olzinelles street, becoming a sort of interior street, emphasized in the second structural volume by enlarging the existing light well. Finally, behind the last structural volume, a triple space contiguous to the void of the two previous volumes wraps up the sequence. The succession of voids configures an atrium limited by 'new' facades opposed to the existing party walls, which show traces of the building's history. The atrium brings light and air to all the spaces, becoming the axis of the horizontal and vertical circulations, and offering the new potential for use for unforeseen programs.  © Adrià Goula  Longitudinal Section Auditorium  © Adrià Goula The existing roofs could not be used, so only the trusses in the main hall were maintained. A new roof is built above the whole building, associated volumetrically to the three structural bodies: three gable roofs, with cellular polycarbonate to the south and insulated metal sheet to the north, above a metal structure, illuminate and ventilate the atrium, with windows in the highest corners to favour natural convection. Inspired in Lina Bo Bardi's Teatro Oficina, the Atrium is an intermediate bio-conditioned space that organizes all the circulations through a series of footbridges and stairs that evoke the image of the scaffolding in a construction site. The building functions thermally through passive strategies based on inertia and insulation; three lightweight roofs permit natural lighting and favour ventilation.  © Adrià Goula By increasing the volume of the roofs it is possible to increase solar gain: in winter heat is collected thanks to a heat recovery system for the interior spaces; in the summer, the air in the top part of the atrium is reheated, forcing a convection which releases the hot air by opening the roof Ridge windows, actioned by automatic sensors. In winter the climate controlled spaces release warm air, tempering the Atrium; in the third body, due to the excess of radiation, a ventilated chamber with a sun filter optimizes solar caption in winter and summer.  © Adrià Goula  This posting includes an audio/video/photo media file: Download Now |
| Putsegården / what! arkitektur Posted: 22 Feb 2018 06:00 PM PST  © Ulf Celander
 © Ulf Celander Background: Putsegården is the only remaining farm from the agrarian history of the region at a site populated since antiquity with a 14th-century church as one of its closest neighbours. The intention of the municipality, when they started working on a new detailed development plan, was to preserve Putsegården. The means to carry the costs of the intended restoration was to create the possibility to build a new multi-family dwelling.  © Ulf Celander Design: One of the greatest challenges of this project was to handle the exploitation needed to make the project financially tenable. A new approach to the assignment, where the form of the building itself became the heart of the project, proved to be the winning way, as it got the approval of both the municipality, the church and the local folklore society.  © Ulf Celander The addition of a new historical layer has served as both a link and a border between two existing time epoques and the form of the building has created an improved spacial configuration for the surrounding area. The poor technical status of the buildings led to a process where the buildings were stripped down, carefully documented and then rebuilt with the support of a photo documentation from the Historical museum dated back to 1948.  Floor Plan 1 The new building connects to the gable of the rebuilt barn. It starts off in a single storey scale, gradually grows alongside the neighbouring lamellar house, reaching its highest point at ten storeys where it meets the street Inägogatan and its existing tower blocks. The form of the building plays along with the surrounding topography and buildings creating outdoor spaces with great spatial qualities. A public walkway leads through the building, via a portico, creating a dramatized meeting between the city of 1950's and the old Lundby church village.  © Ulf Celander Roof and facade cladding consists of sheets of aluminium. Both the cladding technique and the colour scheme "Falu Röd" - a traditional Swedish colour originating from the mines around Falun - connect to old Swedish traditions and craftsmanship. The consistency of colour and material strengthens the form of the building and its function as a space-creating figure. The form of the building har also created a wide range of apartments with unique qualities. There are apartments similar to the terraced house, those with loft qualities and those with a spectacular view in three points of the compass.  Section  This posting includes an audio/video/photo media file: Download Now |
| Private Villa in Ungasan / Rafael Miranti Architects Posted: 22 Feb 2018 04:00 PM PST  © Putu Adi Widiantara
 © Putu Adi Widiantara Text description provided by the architects. The Client required a villa for large family gatherings, with a master villa, a villa for each of his two children's own families, guest rooms for the extended family, service quarters and a swimming pool.  © Putu Adi Widiantara The site is situated on the hill of Ungasan and is sloped down towards the front. The rear is the highest point at 7 meters. Approximately 2.5km from the Uluwatu cliff, the site faces the sea towards the south. From the highest point, a glimpse of the sea can be seen.  © Putu Adi Widiantara  Second Floor Plan  © Putu Adi Widiantara The key idea was to have a very contextual intervention that would work closely with the site contours. In section, the first two wings are kept as single storey structures, with the last master wing two storeys high to take advantage of the views towards the sea.  © Putu Adi Widiantara To celebrate and enjoy Bali's tropical environment, a wide landscaped terrace to the right of the plot leads up from the entrance level to the second level where the children's villas are. These villas are arranged in an L-shape and frame a courtyard. The landscaped terrace leads to this courtyard, so the visitor is first greeted by a garden, before entering the villa proper. This landscaped terrace continues up towards the master villa and culminates at the side of the swimming pool, which stretches across almost the entire width of the site. With this constant interaction with planting and water features, it enhances the experience through the site.  © Putu Adi Widiantara The roofs of the children's villas are covered in turfing, so as to blend in with the landscape and provide pleasant, unobstructed views towards the sea.  © Putu Adi Widiantara  This posting includes an audio/video/photo media file: Download Now |
| Atelier Chaeyeon / L'eau Design + Dongjin Kim Posted: 22 Feb 2018 02:00 PM PST .jpg?1519186757 "© Kyungsub Shin") © Kyungsub Shin
.jpg?1519186602 "© Kyungsub Shin") © Kyungsub Shin Text description provided by the architects. The apartment estate market which seemed not to be withered is cooling now. As the imprudent house-poor, who borrows the money to buy a house even if the interest rate is low, disappears, the fever of becoming to farming for a moment with the longing for the life in a country house is passing like a wind. And as changing the interest to the investment of the profitable real estate, the interest about a leasing profitable building of neighbourhood living facilities with an integration of a habitation house is increasing. .jpg?1519186336 "© Kyungsub Shin") © Kyungsub Shin  Section .jpg?1519187022 "© Kyungsub Shin") © Kyungsub Shin Increasingly, small buildings in the city will become a new type of architecture, which involve workplaces, living spaces, and practical daily lives in combination with a probability. The culture of the apartment, which frames a lifestyle uniformly and constraints spaces into the boxes fragmentarily such simply as a room, living room, and kitchen, is eventually confronted with a limitation in the changeable modern situation. Now, in order to create an architecture as a Scenery where its own life pattern is drawn, architects are required to play a role in planning and consulting about an individual life. .jpg?1519186570 "© Kyungsub Shin") © Kyungsub Shin The architectural structure, which draws a unique pattern having a private preference and responds to the evolving needs of the times, starts from the desire that bears the possibility of emerging diverse events and the potential of creating a new story constantly like an unrealistic fictional world. When the scenery that comes from the deep inside is realized as an independent stage in a space, this architecture will become the place where a flexible program is operating by itself. .jpg?1519186613 "© Kyungsub Shin") © Kyungsub Shin  This posting includes an audio/video/photo media file: Download Now |
| Posted: 22 Feb 2018 12:00 PM PST  © Vũ Ngọc Hà
 © Vũ Ngọc Hà Text description provided by the architects. This building is a shophouse located in a new urban area, along the coast of Ha Long Bay. Its purpose is for business rent in 1st floor and apartment - condo hotel in the remaining.  © Vũ Ngọc Hà Aesthetic sense, acceptable investment cost and time-saving were the important factors the investor offered, which were also an challenge for Nemo Studio.  © Vũ Ngọc Hà The existing had many similarities with other typical shophouses, including the same floors and the lack of light and space at the back of building.  Sections From 2nd Floor, the architects dispose a big void in the center and apartments on the two surrounding sides connected by concrete corridors - steel staircases & lift glass box. The void with green trees in this part help increase the nature light intensity and also highly appeal people & surprise. The dining room with kitchen creates a more spacious area for customers to cook by themselves or to have a party.  © Vũ Ngọc Hà All the apartments are equipped with adequate modern conveniences. The nature lights and house plants are placed inside the room; however, they still maintain privacy and individual. Although the construction materials are rather usual, they have been elaborated aesthetically, for example, waxed concrete, wall painting, white-painted brick, etc. They are quite simple methods but useful to bring beauty and keep plausible investment cost.  © Vũ Ngọc Hà Ms. Gayane – an English teacher - the first customer in the first week said that this was considerably impressing place, creating relaxation, conveniences and familiarity.  © Vũ Ngọc Hà  This posting includes an audio/video/photo media file: Download Now |
| University of Auckland Science Centre / Architectus Posted: 22 Feb 2018 11:00 AM PST  © Simon Devitt
 © Simon Devitt Text description provided by the architects. Located at the corner of Wellesley and Symonds Streets Building 302 is the anchor project of the University's Science Precinct. In response to a brief that sought to increase the University's presence the new building marks this key gateway to the City Campus offering a "window into the life of the University" for passers-by. Building occupants, including the Schools of Psychology, Chemistry and Environment, are organised across 22,000m2 of new floor area spread over 11 storeys.  © Simon Devitt  Ground Floor Plan  © Simon Devitt The building idea, developed during the competition stage, proposes an organisational strategy that promotes the social aspects of the project brief. Similar to previous Architectus projects, such as the Erskine Building at the University of Canterbury, the arrangement of the spaces in a section is key. At Building 302 activities are organised around a series of staggered internal atria or "rooms" creating a flexible environment for research, learning and interdisciplinary communication.  © Simon Devitt  Section  © Simon Devitt These rooms arranged one above the other in section, commence at the ground plane where the planning allows for an open and transparent student environment with connectivity to the adjoining streetscape and Campus public spaces. Above this, an intermediate room connects staff and undergraduates whilst the uppermost room brings together the more intensive and specialised postgraduate research spaces.  © Simon Devitt  This posting includes an audio/video/photo media file: Download Now |
| House Frances / THOSE Architects Posted: 22 Feb 2018 09:00 AM PST  © Luc Remond
 © Luc Remond Text description provided by the architects. Traditionally, regardless of orientation the Australian suburban block is longer than it is wide. Typically, dwellings are built to the side boundary setback in order to maximise the floor plate along its length. The result is often a feeble connection to the rear yard rendering it the bastion of the weekend bbq and resulting in poor solar access, inefficient circulation and suffering from a lack of natural ventilation. Further, in the absence of a panoramic view, as is the case with this house, the result can leave one feeling walled in, constrained and disconnected.  © Luc Remond The architectural parti for this new dwelling in Freshwater, Sydney by THOSE Architects is primarily to consider the relationships between the fundamental components of a dwelling to each other and to the broader context of the site.  © Luc Remond THOSE director Ben Mitchell says of the project "We think of a house as a series of locations rather than a series of rooms. On any site, no matter how unremarkable, small or constrained there are opportunities for place making. For example, identifying the best location for a sunny living room or an opportunity for a private bedroom with an intimate courtyard view. As architects we are always striving to make a meaningful connection to place and this is just as relevant when considering a domestic dwelling as it is to a large scale public building."  © Luc Remond "Given the street frontage faces west, the best strategy here was to close the house off from the street, the harsh winter winds and strong summer sun and arrange the plan around a central north facing courtyard. Primary living spaces spill onto this courtyard affording it excellent access to daylight and natural ventilation. We then work with views into, out of and around the site, heightening them by restricting access to them visually, enhancing the experience as you move through the home. Every room offers a unique glimpse of the garden, or has access to it, creating a rhythm and sense of connection.' says Those Director Simon Addinall of the project.  © Luc Remond The dwelling is extremely efficient in its use of space, circulation and energy consumption. At slightly over 200 sq metres, the house demonstrates that luxury lies not in lavish size but in the relationships between spaces both internally and externally. "The house demonstrates you can live well irrespective of the size of the house. It's about being efficient and considered with the space, rather than seeking size for its own sake. We consider the entire site to form part of the footprint of this house, it is in affect a 600sqm collective series of indoor and outdoor spaces', says Simon.  © Luc Remond In plan the dwelling comprises three parts: a central living and dining space bookended by private quarters, one end for the residents, the other for guests. These are afforded visual and physical access to private courtyards and gardens in varying configurations to create borderless relationships and facilitate strong linkages between inside and out. The guest quarters can also be shut down from the remainder of the dwelling in order to conserve energy when only the residents are in occupation.  Floor Plan Formally the building is a direct extrapolation of the plan and is subsequently orthogonal in its geometry. A height hierarchy is established between the volumes internally identifying the living areas from the private quarters. A high ceiling with a sweeping curve abolishes any hard junction with the wall in the main living space drenching it in daylight and signifying it as the primary volume within the dwelling. A deep concrete shelf adjacent frames the courtyard, provides weather protection for the oversize sliders and blocks summer sun whilst allowing it to penetrate deep into the living space in winter. Elsewhere, deep window and door openings are carved out of the solid form framing views throughout the house and capturing vistas of the garden beyond.  © Luc Remond Whilst the form follows an orthogonal plan, a subtle curved concrete awning signifies the entry to the dwelling and introduces a softness to the entrance. Beyond, spaces are connected by a central 'circulation spine' running directly east/west through the house with the front and rear entry doors directly opposing one another. Two sliding doors located at either end of the main living space allow this spine to be dissected. This reorients the east/west circulation north/south and facilitates a thoroughfare between the main living space and the primary north facing courtyard.  © Luc Remond Garaging is deliberately provided separate to the house, providing a buffer from the westerly sun, cold winter winds and a busy road.  © Luc Remond Environmental design principles are also incorporated, including: - Solar control – Main living areas are oriented to the north. All north-facing windows and doors have extended eaves to block the summer sun while allowing deep interior penetration of the winter sun which tracks much lower in the sky. - Natural ventilation – All rooms are cross ventilated with windows on opposing or adjacent walls. The main living spaces and principle sleeping spaces are oriented north permitting prevailing summer north easterly winds to passively cool, while the southern elevation is shut down from the prevailing winter south westerly winds. - Thermal mass – Concrete slabs and brick walls are used throughout, helping to passively heat and cool the home throughout the year.  © Luc Remond More than just functional devices to ensure the dwelling performs well, these principles further reinforce a connection to the various micro-climates that exist across even a small suburban site such as this. "regarding the dwelling as a series of locations, as architects we can provide opportunities for our clients to experience the site in different ways, in different spaces and at different times of the day. Says Ben.  © Luc Remond Careful composition of materials codifies the dwelling from base to apex. Each material having a tactile quality relevant to its location and purpose. "Honesty in material expression is something we emphasise in all our work. We never rely on applied finishes to tell the story and we carefully select materials that will stand up to punishment' says Simon.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 22 Feb 2018 08:30 AM PST  Aerial view. Rendering by Flying Architecture. Image Courtesy of UNStudio UNStudio has been selected as the winner of the largest ever private initiative architectural competition to be held in France – for the keystone 'Centre Culturel' of the new EuropaCity development currently being developed in the Triangle de Gonesse region just north of Paris. As a brand new ground-up district, in 2017 EuropaCity launched a call for the design of 8 key buildings to be located within BIG's competition winning master plan, including a concert hall, hotels, contemporary circus and exhibition hall. UNStudio was chosen to design the new Centre Culturel Dédié Au 7è Art, which will house a cinema complex and "cultural laboratory."  Entrance. Rendering by Flying Architecture. Image Courtesy of UNStudio The complex features a variety of indoor and outdoor venues for enjoying cinema in both traditional and unexpected ways. Rather than simply designing a simple container for a theater within, the building is envisioned as a completely accessible public space where people can gather and relax. The expanded program will also include media and production facilities, restaurants and cafes, and viewpoints for 360 degree panoramas of EuropaCity and the Paris skyline. "Cinemas are the perfect example of concealed architecture," explains founding partner Ben van Berkel. "The cinema is the one type of building that becomes invisible once you step inside it. You spend up to two hours in a darkened room, immersed in the alternative space and time of the imagination…and then you leave. This limited user experience of the cinema as a venue led to the key concept that drove our design: the desire to create a building that in its totality offers a much more extensive experience of cinema."  Program distribution diagram. Image Courtesy of UNStudio  Lobby. Rendering by Flying Architecture. Image Courtesy of UNStudio The design of the building draws cues from BIG's 'Rolling Hills' master plan, using sweeping curves and occupiable rooftops to embed the building into its surroundings. One key design concern was to keep a low profile to allow maximum natural light to reach the adjacent hotel. To achieve this, the building is oriented to cause minimal shadows while still allowing light to reach the building's terraces and sundecks. But the building also stands out, through its overall form and choice of facade material. Inspired by landscape sculptures, the weathered steel expresses a natural tone and familiarity. Perforations in the metal work in tandem with the overall form to harness natural winds and provide ventilation for indoor spaces. The three "blocks" of the building are organized by film genre, allowing the space and the art to interact and heighten one another. At the center, they converge on a lobby that offers access into the theaters and glimpses into the production studios on the level below.  Massing and approach diagram. Image Courtesy of UNStudio  Production space. Rendering by Flying Architecture. Image Courtesy of UNStudio  Sketch by Ben van Berkel. Image Courtesy of UNStudio ''For the design of the Centre Culturel we were inspired by the 'Cinéma en plein air ' culture, and we wanted to celebrate the art of film-making," says van Berkel. "We have created a building where you can both produce and enjoy film as a shared experience"  Model. Image Courtesy of UNStudio  Section. Image Courtesy of UNStudio  Rooftop. Rendering by Flying Architecture. Image Courtesy of UNStudio
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| 2018 Pritzker Prize To Be Announced March 7th Posted: 22 Feb 2018 08:00 AM PST  via The Hyatt Foundation | Pritzker Architecture Prize The 2018 Pritzker Architecture Prize will be announced on Wednesday, March 7th at 10am EST. Past Laureates include a roster of architecture's most influential names, including Philip Johnson, Zaha Hadid, Rem Koolhaas, Oscar Niemeyer, Norman Foster, Peter Zumthor, Toyo Ito, Alejandro Aravena and, most recently, Rafael Aranda, Carme Pigem and Ramon Vilalta of RCR Arquitectes (full list). Stay tuned to ArchDaily's comprehensive coverage of the prize, here.In December we asked our readers to speculate as to who the 2018 Laurate should—rather than will—be. You can continue to cast your vote in our (entirely unscientific) poll here! Over 3500 responses have been logged already.  This posting includes an audio/video/photo media file: Download Now |
| Salesforce Tower / Pelli Clarke Pelli Architects Posted: 22 Feb 2018 07:00 AM PST  © Vittoria Zupicich
 © Tom Griffith/ESTO Text description provided by the architects. Salesforce Tower will be the tallest building in San Francisco, joining the Golden Gate Bridge and the Transamerica Building as one of the skyline's defining elements. Pelli Clarke Pelli won an international competition in 2007 to design the tower and the Salesforce Transit Center at its base. Together, the two buildings represent a novel approach to public-private collaboration and sustainability in an urban setting.  © Vittoria Zupicich  Ground Floor Plan  © Vittoria Zupicich The competition was sponsored by the Transbay Joint Powers Authority, a public entity created by the City of San Francisco to develop the new transit centre. To help fund that building, part of the site was offered for sale to teams of developers and architects in an invited competition. Pelli Clarke Pelli and its development partner submitted a design that focuses on sustainability, neighbourhood development, and financial feasibility.  © Vittoria Zupicich Standing 326 meters (1,070 feet) tall, the tower has the simple, timeless form of the obelisk, giving the 61-story tower a slender, tapering silhouette. The walls are composed of clear glass with pearlescent metal accents. These horizontal and vertical accents gradually taper in depth to accentuate the curved glass corners. The walls rise past the top floor to form a transparent crown that appears to dissolve into the sky. Carved into the tower top is a vertical facet that will be lit at night.  Section At its base, Salesforce Tower connects directly to the transit centre, which will house 11 Bay Area transit systems. On top of the Transit Center and linked directly to the tower is a 5.4-acre public park, which will offer recreational, educational, and nature activities. The park has two roles: the future anchor of the neighbourhood and a key element of the project's sustainable design strategy. Each floor of the tower will have integrated metal sunshades, calibrated to maximize light and views while reducing solar gain. High performance, a low-emissivity glass will also help to reduce the building's cooling load. Cooling may be provided in part by heat-exchanging coils wrapped around the tower's foundations. The tower and transit centre also include comprehensive water recycling systems. In addition, high-efficiency air-handlers will take in fresh air on every floor.  © Tom Griffith/ESTO  This posting includes an audio/video/photo media file: Download Now |
| Posted: 22 Feb 2018 06:15 AM PST  © Sou Fujimoto Architects. Courtesy University of St. Gallen Sou Fujimoto Architects has been selected as the winner of a competition to design the new HSG Learning Center at the University of St. Gallen in Switzerland. Chosen from a shortlist of 8 teams, Sou Fujimoto Architects' proposal "Open Grid – Choices of Tomorrow" received the highest marks across the following criteria: architecture and urban planning, innovation in concept execution, functionality, sustainability and economic efficiency. According to the competition jury, the project was notable for its "highly developed didactic concept, compatibility with the district, architectural ambition and affordability." The scheme is envisioned as a stack of cubes on a grid, containing a total area of 64,583 square feet (7,000 square meters). By stepping up from the street level and reaching a peak height of just 60 feet (18.5 meters), the building will integrate gently into the scale of its surroundings, which includes a neighboring residential area. The terracing form will also allow for natural light to enter into the center of the building, while indoor and outdoor spaces will be connected physically and visually through an abundant use of glass. Rooftop terraces will be planted with greenery. By placing structure at the grid points, interior spaces will remain flexible and able to be rearranged for various didactic requirements. "The HSG Learning Center is designed to be a place to think and work, a space that facilitates innovative types of learning and interaction with students, teachers and people working in their respective fields," explain the University in a press release. "In establishing the HSG Learning Center, the University seeks to enable a new quality of learning that will prepare students as effectively as possible to work in a digital age after graduation." Construction on the project is expected to begin in 2019 or 2020, with completion in time for the 2022 spring semester.  This posting includes an audio/video/photo media file: Download Now |
| Alma Creative Club / Tham & Videgård Posted: 22 Feb 2018 05:00 AM PST  © Åke E:son Lindman
 © Åke E:son Lindman Text description provided by the architects. With Alma the client wanted to create a members' club and co-working space aiming to unite Sweden's creative crowd. It is housed in the former premises of the celebrated Beckman's design college at the heart of Stockholm's economic and cultural center.  Section Tham & Videgård was asked to refurbish the entire building, dating from the early 1900s and originally built for a sewing machine factory consisting of two five level buildings around a covered atrium courtyard. Given the extensive construction work needed in combination with a short time frame, a challenge was to find a way to achieve the high quality architectural environment the clients wished for with relatively small means.  © Åke E:son Lindman As a response, Tham & Videgård proposed three elements that together form the base providing continuity throughout the entire space: a colored parquet pattern floor made of sawn ceramic tiles, a painted frame work structure to create partitions made out of standard wooden profiles, and a new circular pendant light to be used as a floating ceiling eliminating the need for a suspended ceiling.  Exploded Axonometric The brief included a series of different working environments, from open social lounge spaces and communal work tables, to more secluded glass cubicles and private office rooms dedicated for one person or a team of co-workers. Alongside the office spaces the five-storey venue should also host events, workshops and exhibitions as well as conference rooms for hire. The main entrance doubles as a design shop and café and the spacious atrium functions both as a member's restaurant run by two of Sweden's best chefs, and for special events including a curated contemporary art program.  © Åke E:son Lindman In addition to the overall interior design, Tham & Videgård also designed the Alma lamp, produced by Swedish lighting company Wästberg (wastberg.com), and a series of solid ash tables, storage units and benches that are used both for the atrium restaurant and the communal work spaces.  © Åke E:son Lindman  © Åke E:son Lindman Additional furnishings were coordinated by Almas creative director Fredrik Carlström (Austere), with custom designs and objects by Moa Ott, Sara Söderberg, Christina Nordlind Hejdenberg, Rikard Palmquist och Kasper Friis Kjeldgaard, Erik Järkil as well as several contemporary Swedish and international artists.  © Åke E:son Lindman The Alma project won the Golden Chair Award for Best Interior of the Year 2017 by the Swedish Association of Architects.  This posting includes an audio/video/photo media file: Download Now |
| SOM's Iconic 270 Park Avenue At Risk of Becoming the Tallest Building Ever to Be Demolished Posted: 22 Feb 2018 04:30 AM PST  © Flickr <a href='http://https://www.flickr.com/photos/16801915@N06/8191438808/'>user Reading Tom</a>. Licensed under CC BY 2.0t Just months after plans were announced for a major transformation of Philip Johnson's AT&T Building at 550 Madison, another iconic midtown Manhattan skyscraper is at risk – and this time, it would mean the demolition of the entire building. Designed by Natalie de Blois and Gordon Bunshaft of SOM and completed in 1961, 270 Park Avenue (formerly known as the Union Carbide Building) is considered a key example of the International Style in New York City that extended and even improved upon the precedent set by Mies van der Rohe's Seagram Building. But after new zoning legislation for the neighborhood was passed last year, the building's current owner, JPMorgan Chase, has announced plans to raze the 707-foot-tall building in favor of a new, hi-tech supertall replacement. If plans go through, it would be the world's largest and tallest building ever to be intentionally demolished.  via Google Satellite The building, identifiable by its black metal and silver rib facade, sits above the Metro-North railway, and is notable for its second floor lobby and large urban plaza. The building underwent one of the largest office renovations in history in 2012, when it was brought up to LEED-Platinum standards. But Chase claims that the location is no longer large enough to house their growing workforce, and that in current conditions, 6,000 employees are housed in a building only intended for 3,500. The new building would be reach as tall as 70 stories and would provide an addition 1 million square feet of space, improving company efficiency and allowing for future growth. Despite being held in high regard by the architecture community, 270 Park was passed up for landmark status in a review of the district prior to the rezoning that saw 12 other buildings in the area added to the list. The neighborhood now contains 50 landmarked structures, including the Seagram Building. If plans are to go forward, demolition could begin as early as next year, with completion anticipated for 2023. News via New York Times, Curbed, New York Yimby  This posting includes an audio/video/photo media file: Download Now |
| Posted: 22 Feb 2018 03:00 AM PST  © Andres Garcia Lachner
 © Andres Garcia Lachner Text description provided by the architects. Set in the rainforest of Santa Teresa, Costa Rica, two modern homes project out of the landscape and are defined by a series of steel frames that bring the best modern methods of construction to a tropical location. The use of large steel I-beams and concrete is a tenet of the international language of Modernist architecture and Studio Saxe have taken this design approach and recontextualised it for contemporary use. This project is a continuation of their search for an authentic Central American tropical architecture.  © Andres Garcia Lachner  First floor plan  © Andres Garcia Lachner The raw materials of steel and concrete are balanced with the careful use of crafted wooden screens and floors, to ensure the design of these rental properties is rooted in local traditions and building techniques. The black metal frames create cantilevered openings that hover over the social spaces below, creating a blurred distinction between inside and outside areas and between private and more communal atmospheres.  © Andres Garcia Lachner Large openings on every level of the building make the building seem lightweight and they connect the inhabitants to the surrounding natural environment. A delicate timber staircase appears to float from one floor to the other, suspended by the finest steel cables. The town of Santa Teresa on the pacific coast of Costa Rica has become a multicultural hub, renowned for its large waves and untouched nature. Joya Villas is situated on a hilltop, with its main terrace directly overlooking one of the best surfing breaks in the region. People have rented the homes can enjoy the views of the best swells from the comfort of their infinity pool or simply walk down to the beach to enjoy.  © Andres Garcia Lachner Architect Benjamin Garcia Saxe said: "Joya Villas is a clear reflection of a new wave of contextual contemporary tropical architecture that  © Andres Garcia Lachner is born from and adapts to its precise location, land contours, and climate. These ingredients are then brought to life through the careful balance of modern building techniques and touches of handcrafted natural materials. Everything we do at Studio Saxe is focused on trying to enhance the experience of the natural in the inhabitant of spaces and perhaps even create moments of relaxation and reflection. This train of thought and the architecture that is emerging could begin to be considered as the birth of an authentic Central American Tropical Architecture."  © Andres Garcia Lachner  This posting includes an audio/video/photo media file: Download Now |
| Here's What the Alphabet Looks Like When Converted into Baroque Palace Designs Posted: 22 Feb 2018 01:30 AM PST
Johann David Steingruber was a German architect and designer with over 100 buildings to his name, including many churches, town halls, school buildings and even breweries. However, perhaps what he is best known for today are the intricate illustrations of his 1773 Architectural Alphabet, in which he converted the alphabet into plans for a series of eccentric baroque palaces. Done more as a "labor of love" rather than for any practical reason, Steingruber's book is a compilation of playful and intricate spatial relationships, with each letter providing its own unique set of challenges. Even though the letters naturally offer more complex shapes than we would ordinarily use for plans, the spaces somehow make sense. The baroque style of oval antichambers, domes, and vaults is evident not only in the plans but also in the elevations.  via Google Books (public domain)  via Google Books (public domain)  via Google Books (public domain)  via Google Books (public domain)  via Google Books (public domain)  via Google Books (public domain)  via Google Books (public domain)  via Google Books (public domain)  via Google Books (public domain)  via Google Books (public domain)  via Google Books (public domain)  via Google Books (public domain)  via Google Books (public domain)  via Google Books (public domain)  via Google Books (public domain)  via Google Books (public domain)  via Google Books (public domain)  via Google Books (public domain)  via Google Books (public domain)  via Google Books (public domain)  via Google Books (public domain)  via Google Books (public domain)  via Google Books (public domain)  via Google Books (public domain)  via Google Books (public domain)
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| Fundamental Sciences Division Building / METRO Arquitetos Posted: 22 Feb 2018 01:00 AM PST  © Leonardo Finotti
 © Leonardo Finotti Text description provided by the architects. The Technological Institute of Aeronautics (ITA) in São José de Campos is engaged in an expansion project to take on twice the number of students. A collective of São Paulo-based firms involving METRO, MMBB and Piratininga Arquitetos are leading the corresponding architectural project and will work in the context of an architecturally significant existing campus, possessing buildings and urban design by Oscar Niemeyer. From a suite of new buildings that includes also a new library and a residential area intended for the faculty of the institution, METRO is responsible for the 1200 seat auditorium and the Fundamental Sciences Department, that became the first to be built and was finished in October 2018.  © Leonardo Finotti  Ground Level Plan  © Leonardo Finotti A key design principle of this masterplan of was to make a clear distinction between areas for living and public use with those areas intended for faculty and students. The Fundamental Sciences building is thus immediately adjacent to the Electronic Sciences building, and together with the existing buildings, they combine to create a large green area, entirely defined by educational buildings.  © Leonardo Finotti The auditorium and library are seen as supporting elements to this program and are positioned within the green court itself. The auditorium is defined as a solid volume whose faces are partially closed and part translucent, it seems to float above the court which enters into it; by contrast, the library has the majority of its program buried, yet its presence is denoted by a large steel-framed arcade emerging from the ground and forming a large shaded area. It is open to the sky at its centre, allowing light into the library below.  Section For the Fundamental Sciences Division Building standardised steel components were chosen as the construction system, maximising build-speed, technical accuracy and reducing waste. Whilst from the perspective of lighting, natural daylight was prioritised in sections of the program with consistently high occupancy rates, minimizing the use of artificial means and additionally offering external perspectives. In terms of ventilation, a system was designed to provide comfort conditions through natural means. This is particularly present in circulation areas, where open external galleries are used, eliminating the need for air conditioning equipment.  © Leonardo Finotti  This posting includes an audio/video/photo media file: Download Now |
| Posted: 22 Feb 2018 12:00 AM PST  © Keshia Badalge Much has been said about the darkest building in the world, designed by Asif Khan, for Hyundai's Winter Olympic pavilion this year. What's more surprising about this blackest-of-black pavilion is really how bright it is inside. The imposing facade of Vantablack VBx2 encloses a series of radiant, playful rooms and the entire project is part of a joint effort by Hyundai and Asif Khan to use architecture and design principles to bring delight to Olympic visitors in Pyeongchang this year. Hyundai decided to sign on as a sponsor for the Pyeongchang 2018 Winter Olympics and commissioned the British architect, Asif Khan, to bring their brand vision to a physical space. The specific assignment—delivered by Hyundai's Creative Works—emphasized the fact that the built space had to convey a powerful experience without showing any of their products.  Initial Concept Sketch In an interview with ArchDaily, Mr. Jang Young, a member of the design team at Hyundai Creative Works, explained his vision for the project:
 Hydrogen Layout Diagram  Hydrogen Section Diagram Inside, the pavilion comprises 5 rooms representing water, solar energy, electrolysis, hydrogen fuel stacks, and the recreation of water. The work was divided such that Asif Khan would be in charge of the Vantablack VBx2 facade and the water room, and Hyundai would design a series of four rooms following the water one. Mr. Jang said the challenge was to turn the idea of a traditional showroom that shows products into one that conveys a "futuristic" experience.  Floor Plan Hyundai PavilionBuilding area: 1,225 m2 Universe: Source Of Hydrogen © Keshia Badalge Upon entering the Olympic park, visitors immediately see the waving flags and wide steps leading to the main Pyeongchang Olympic stadium. The building right beside it is the Hyundai Pavilion, a dark and subtle companion to the stadium's grandeur, but no less alluring. The main draw of the pavilion has been its use of Vantablack VBx2 on the exterior walls. The pitch-black facades and sparks of light were designed to embody the moment of the big bang and the creation of Hydrogen. Construction: Hyundai Engineering, iart (LED) Water: The New SeedAs you walk into the pavilion, the first thing you will encounter is a large, bright-lit white room with an interactive water display. The whole room is illuminated uniformly from above. The staff on site handed cups to all the entering guests and invited them to play with the water channels.  © Light Up Your Energy Ergonomic air switches push water into the channels when a visitor hovers his or her hand over the air holes.  © Kyungsub Shin Mr. Jang told us that they deliberately chose the uniformed lighting in order to "best highlight the tiny droplet" and make it look like a circular bead. At a speed of 0.5 to 0.8 meters per second, water droplets flow across the water channels coated with hydrophobic material. This makes the water droplets maintain its spherical shape, resembling a seed. 25,000 droplets of water freely glide across the channels.  © Kyungsub Shin The droplets seem to activate the entire surface through their movement in a permanent but variable circuit until they reach the central "lake."  © Kyungsub Shin Hydrogen, then, is represented literally, as an impulse, as an engine that puts static things—like the architectural space—in motion. Construction: iart Hydrogen: Creation of Future EnergyThe process of creating Hydrogen was conceptualized by Hyundai Creative Works and shown through four smaller, inter-connected rooms.  © José Tomás Franco SOLAR: The first room we pass through as we exit the water room is a lovely orange and yellow-hued room called the "Solar room." This room is meant to represent the process of creating electricity through solar energy. Upon entering, we immediately noticed how warm the room was. We were later told that warm ambient heat was used to recreate the warmth of solar energy. Materials: Tinted black mirrors  © Light Up Your Energy  © José Tomás Franco ELECTROLYSIS: The second room is meant to represent the process where electricity produced from solar energy breaks covalent bonds between Hydrogen and Oxygen atoms to produce Hydrogen ions. Chrome hemispheres represent hydrogen ions separated from water. Their reflective surface is no accident of design, either. Mr. Jang mentioned to us that his team had designed this room to be a selfie paradise. Materials: Chrome veneer on acrylic  © José Tomás Franco HYDROGEN FUEL STACK: The third room is designed to resemble a hydrogen fuel stack, which is the place where hydrogen ions create electricity. The thousand of fiber optic cables represent electricity created within the fuel stacks. When you first enter, it looks like a room made from The Matrix, or like fireflies lying still against the dark night. As a "hairy room," its thousands of little lights extend towards you by a length of about 15 centimeters, inviting you to touch and play. The seemingly static room becomes a dynamic playground once these fiber optic cables are in the curious hands of visitors who swirl them around, creating images and words. This room proved to be endless fun, especially for little children! Materials: Fiber optic cables  © Light Up Your Energy RECREATION OF WATER: The fourth room was inspired by how water is recreated in the last step of the process in a Hydrogen fuel engine. Water is dropped on the surface of reinforced glass on the ceiling and the lighting effects create mock ripples on both sides of the wall. Materials: Reinforced Glass The pavilion opened earlier this month, in line with the Winter Olympic Games in Pyeongchang this year. The building provides visitors to the Olympic park a playful and expressive space to interact with and even enter the future of a company, through the means of architecture. Keshia Badalge and José Tomás Franco, reporting for ArchDaily from PyeongChang.  This posting includes an audio/video/photo media file: Download Now |
| Future Campus – University College Dublin International Design Competition Posted: 21 Feb 2018 11:30 PM PST  UCD Belfield Core Campus and Surrounding Area - Image courtesy of Barrow Coakley Photography Future Campus – University College Dublin International Design Competition focuses on enhancing and enlivening University College Dublin's (UCD's) extensive campus. This competition – the first stage of which closes at 14:00 BST on Monday 26 March 2018 – is seeking an outstanding integrated multidisciplinary team for two much-needed design initiatives. First, the Entrance Precinct Masterplan will create a new urban design strategy for a 23.8 ha area that will guide UCD in defining the quality of the campus through placemaking, architecture and the public realm, as well as allowing for future planning. Essential to this will be a distinctive, confident and highly-visible entrance and arrival experience that expresses the University's identity and showcases its Dublin site. The second element, the 8,000 sq m Centre for Creative Design, is conceived as a charismatic yet well-integrated architectural addition – a maker space that is a living learning lab – that will express the University's creativity and promote inter-disciplinary engagement. The total value of the Centre for Creative Design is circa €48 million. Initially, UCD is seeking expressions of interest from integrated multidisciplinary teams organised under a lead consultant and including expertise in architecture, masterplanning, urban design, landscape, sustainability, engineering and transport planning. At the second stage, teams will be invited to propose additional consultancy including, but not limited to, planning, lighting design, wayfinding and accessibility; and international teams will be required to team up with a local executive team. An honorarium of €40,000 will be paid to each of the shortlisted teams following the conclusion of the competition. Download the information related to this competition here.
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| The Best Chinese Architecture of 2017 Posted: 21 Feb 2018 10:00 PM PST  ArchDaily China's Best Projects of 2017 2017 was a momentous year for Chinese architecture. From Tianjin Binhai Library taking the internet by storm with images of its terraced "sea of bookcases", to Alvar Aalto Medal recognizing Zhang Ke of standardarchitecture for his professional accomplishments. China has retained a remarkable presence in the global architecture scene. So many of our readers around the world celebrate Chinese New Year and welcome fresh beginnings in the Year of the Dog, we would like to take a look back at 2017 and share with you the most visited projects from China. This is a collection of projects coming from world-famous practices such as MVRDV and MAD Architects, and also from the younger, local talents who have demonstrated great potential in bringing positive changes to China's built environment. Bund Finance Centre / Foster + Partners + Heatherwick Studio © Laurian Ghinitoiu Bishan Cultural and Art Center / Tanghua Architect & Associates © ARCH-EXIST Qingdao Cruise Terminal / CCDI - Mozhao Studio & Jing Studio Courtesy of CCDI Dongziguan Affordable Housing for Relocalized Farmers / gad Courtesy of gad Tongling Recluse / RSAA / Büro Ziyu Zhuang © Shengliang Su Renovation of Captain's House / Vector Architects.jpg?1519041242 "© Howard Chan") © Howard Chan East China Normal University Affiliated Bilingual Kindergarten / Scenic Architecture Office Courtesy of Scenic Architecture Office Tianjin Binhai Library / MVRDV + Tianjin Urban Planning and Design Institute © Ossip van Duivenbode The World Expo Museum / ECADI © Feng Shao Gymnasium of New Campus of Tianjin University / Atelier Li Xinggang © Haiting Sun Huangshan Mountain Village / MAD Architects © Fernando Guerra Fuzhou Jinniushan Trans-Urban Connector / LOOK Architects © Yuedong Zhou Raffles City Hangzhou / UNStudio © Hufton + Crow Liberal Arts Building No.2, Northeastern University / THAD © Shengliang Su Tsinghua Ocean Center / OPEN Architecture © Iwan Baan Victims of Nanjing Massacre Memorial Hall / Architectural Design & Research Institute of South China University of Technology.jpg?1519052505 "© Changheng Zhan, Minghua Ma") © Changheng Zhan, Minghua Ma Twisting Courtyard / ARCHSTUDIO © Ning Wang, Weiqi Jin  This posting includes an audio/video/photo media file: Download Now |
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