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Touguinha House / Raulino Silva
Le Jardin du Côteau / Christian Blachot Architecture
Chongqing Tiandi Art Museum / Shenzhen Huahui Design
Laurian Ghinitoiu Captures Visitors' Delight at Asif Khan and Hyundai's Interactive Olympic Pavilion
NYC's High Line Wins the 2017 Veronica Rudge Green Prize in Urban Design
House MV / Cristian Alvarado Espinoza
Most Architects Prefer Working in Organized Spaces, But Some Opt for "Organized Chaos"
Watch Robert A M Stern Make the Case for Preserving Philip Johnson's AT&T Building
L’ATALANTE / KOZ architectes
4 Best Instagram Hashtags To Follow If You Want to See Great Architecture

Posted: 24 Feb 2018 09:00 PM PST

Architects: Raulino Silva
Location: Vila do Conde, Portugal
Team: Raulino Silva, Cátia Sampaio, Daniela Amorim, João Mendes
Area: 300.0 m2
Project Year: 2017
Photographs: João Morgado

Text description provided by the architects. The small property, with an accentuated slope on the topography, is located in the main street of Touguinha, a small village in the north of Portugal. On site, there are houses on both sides of the plot terrain, an old stone wall at the back and, at the front, there are some crop fields with a small grove in the middle.

The implantation of the house meets the street lineup of the surrounding houses and allows the lateral access on the north side of the property for the footpath and the driveway. In the backyard, we decided to demolish the existing sheds and to recover the old stone wall, a typical feature of the region.

In the lower floor, which occupies about half of the implantation, we have the garage, the technical area, the laundry room and the main entrance with the stairs to the upper floor, which is lit by the patio.

Upstairs, there is a central aisle that separates the social area of the house and the bedrooms area, accentuated with small balconies on each end.

Facing the street there are three bedrooms with a shared balcony, one of which is a suite with a private bathroom. To the posterior zone, connected to the backyard, we have the kitchen and the living room, spaces which are extended to the outdoors through the deck area.

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Le Jardin du Côteau / Christian Blachot Architecture

Posted: 24 Feb 2018 06:00 PM PST

Architects: Christian Blachot Architecture
Location: 411 allée Marthe Trillat, 38180 Seyssins, France
Lead Architect: Christian Blachot
Area: 1878.0 m2
Project Year: 2017
Photographs: Christian Blachot

Client: Grenoble Habitat

Text description provided by the architects. This project takes place in the Pré-Nouvel eco-district designed by urban planner Jean-Pierre Pranlas-Descours and landscaper Catherine Mosbach. This large site offers very different orientations and ambiences, with points of view on the three mountain massifs, Vercors, Belledonne and Chartreuse. The different lots take place around a 6 ha natural park that extends the existing landscape. The project is located at the southern end of the park in a dominant position, leaning against the hill of Comboire facing the Vercors with a visual escape on the plain of Grenoble and the Chartreuse.

The design of the project is based on this privileged location by creating a route to enjoy the particularities of the site and ambiences on the park and wood side, visual and climatic environments, but also sound and olfactory. This project stands out from other projects of the eco-district by its radicality and its distribution system designed as a walk through the different dimensions of the landscape and its raw materials including white concrete. The apartments are all through to enjoy the coolness of the Comboire hill in summer and the front view of the Vercors.

This project includes 28 intermediate housing units, from T2 to T4 duplex, divided into two horizontal strata overlooking the park. This simple volume draws a perfect horizontal that highlights the undulations of the park. These dwellings are served from an alley that extends naturally into the woods. Each dwelling has individual outdoor access. The floor dwellings are accessible by external stairs and walkways that punctuate the driveway. The roof is vegetated: no equipment and network denature it. For this purpose, an inverted VMC has been set up.

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Chongqing Tiandi Art Museum / Shenzhen Huahui Design

Posted: 24 Feb 2018 12:00 PM PST

Architects: Shenzhen Huahui Design Co. Ltd
Location: Yuzhong, Chongqing, China
Architect In Charge: Cheng Xiao
Design Team: Shibo Yin, Qifan He, Weiwei Mao
Structural Designer: Mu Xu, Tingting Zhao
Client: Chongqing Vanke Real Estate Co., Ltd.
Area: 1600.0 m2
Project Year: 2017
Photographs: Zhi Xia, Weiwei Mao

Site
Tiandi Art Gallery is located in the south bank of Jialing River, close to the lake by Tiandi property. There are steep hills in Yuzhong peninsula in the south, Chongqing Tiandi Commercial Street in the north, and residential area under construction in the west.

Mountain lake and the building. Image © Zhi Xia

Strategy
The starting point is how to merge the new building to a complex environment and make it become a part of the landscape, and how to form a dialogue between the interior space experience and the surroundings; we hope the building can be a container of different urban fragments and act as a sensory medium to experience the scenery.

Layout based on topography
The shape of the land follows with the belt-type lakeshore, which is relatively long and narrow. The building's overall layout complied with the topography and was divided into three volumes based on different functions. The three volumes are linked together through a wing space, two of which form two half closed yards with the volume, one is connected with a pool to form a sunken yard, the other is linked with a square to hold small gathering activities for people in the park.

Spatial forms
Tiandi Art Gallery includes Art Display & Exhibition Hall, Vanke Brand & Project Experience Center and Café House.

The gallery frequently displays contemporary artworks by local artists, therefore, we designed a double-height space to display them. The staircases were utilized to connect different display platforms which are varied in height and can be used to exhibit paintings, sculptures and installation art, or provide art education for children. In this design, we used the contrast of white walls and black stairs to weaken the internal space form.

Moreover, we focused on the visiting path, through which the indoor and outdoor scenes were closely linked together and the scenery became a part of the exhibition. The platform on the top borrows scenery from the distant mountains, aiming to evoke a feeling of mountain climbing while walking around the museum, and the light reflected through the high windows attract visitors to climb up.

The Brand Display & Project Experience Center is a single-storey space used for the introduction of Vanke's Tiandi property, in which we provided a wide scale according to the requirements of planning model display and negotiation. During the design process, we consciously lowered the height of the space by the lakeside, in order to avoid the uncontrollable vision and keep the sight inside the park.

The Café House was raised to the second floor to bring the waterscape inside. On the one hand, a slightly tilted volume is echoing with the geometric relation of the overall form, on the other hand, it is trying to endow a simple box with certain space gestures and expressions through a personalized action.

Walking scenery
Therefore, being combined with functional demands and environmental characteristics, the three volumes show different gestures, namely, being "high", "wide" and "raised". If the height is a simulation of mountain, then the staircases are allusions of "paths", and the wide french window is a response to the water features. Furthermore, the sight-view windows which highlight the building create a city montage on the whole visiting line.

Island trees and the building. Image © Zhi Xia

The three blocks are grouped together, and each has a different section view. The interior of the building does not emphasize its central feeling, however, with the "attraction" of objects and sceneries it creates interaction between visitors and the urban environment through the body's movement, and translates environment features into spacetial experiences.

The exhibition and natural sceneries are connected through continuous paths, this concept has also been used in the landscape design. From the parking area, the culvert under the municipal road, lakeside plaza to the art platform, from the stairs, raised platform, floor windows, Café House to the glass corridor, all visitors are wandering inside the architecture as well as outside the space.

As we know, Le Corbusier praised highly the layout of Acropolis of Athens, in order to reproduce the spirit of place perceived by human behavior, his handling of space arrangement, hierarchical order and montage completed the connotation of free architecture, which is the core spirit he advocated in "Promenade Architecture".

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Laurian Ghinitoiu Captures Visitors' Delight at Asif Khan and Hyundai's Interactive Olympic Pavilion

Posted: 24 Feb 2018 08:00 AM PST

Earlier this month, the Winter Olympics was officially opened in South Korea. Laurian Ghinitiou visited PyeongChang to capture the celebrations and the festivities of the Winter Olympic Games. At the Olympic Park, he turned his lens towards the now-famous Vantablack VBx2 building designed by Hyundai and Asif Khan. The pavilion was conceived of as a "narrative" and everything from the facade to the five rooms within -- water, solar, electrolysis, hydrogen fuel stack and recreation of water -- were part of the story.

The unique experience starts from the initial encounter of the pitch-black building at the Olympic Park to the final room where water droplets ripple off the walls. The alluring black facade, for example, embodies the dearth of light in space, as well as the infinite possibilities of the universe. The universe is also the birth place of Hydrogen during the Big Bang and is where the narrative begins.

Hyundai chose to build the complex in the Olympic Park in order to reveal to visitors how Hydrogen energy is conceived, but the designers made sure this was not going to be purely a science experiment. Laurian Ghinitoiu captures how the pavilion is all about novelty, delight, and the visitor experience.

Check out the full series below:

See more of Laurian Ghinitiou's work on ArchDaily here, and check out his website for more photography.

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NYC's High Line Wins the 2017 Veronica Rudge Green Prize in Urban Design

Posted: 24 Feb 2018 06:00 AM PST

Eight long and prosperous years have passed since the first part of the New York High Line opened in 2009. As a prominent piece New York's architectural and urban identity, it is no wonder that it has been awarded the Harvard GSD Veronica Rudge Green Prize in Urban Design, recognising the ongoing efforts of the Friends of the High Line for their adaptivity to the changing context of the park and their support from the beginning for design excellence.

The jury was particularly inspired by the multidisciplinary project between James Corner Field Operations, Diller Scofidio + Renfro, and Piet Oudolf, spanning the public and private domains as a model of collaborative design. It was also commented on the social and political relevance of the High Line in saving a piece of American history from ruin and interacting through community outreach programs and a wider dissemination program for cities across the US.

Established in 1986, the Veronica Rudge Green Prize in Urban Design celebrates urban design projects across the world. Awarded biennially for projects within the last ten years, it identifies the lengthy initial process required before a project may appear to make an impact on the public realm and evaluates the humane conscience in designing the urban environment.

News via: Harvard GSD.

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House MV / Cristian Alvarado Espinoza

Posted: 24 Feb 2018 05:00 AM PST

Architects: Cristian Alvarado Espinoza
Location: Paine, Chile
Area: 230.0 m2
Project Year: 2017

Constructor: Sergio Contreras
Structural Calculations: Pablo Romero
Interior And Kitchen Design: OhDa Diseño, Carla Valenzuela

A break on the hill.
The order is a second home for a family on the slopes of a hill located in the southern sector of Laguna Aculeo, Paine. The conditions of the terrain with an angle of 30 degrees create the following problem: How, in addition to accommodating the traditional program, is the family reunion generated and possible? The work tries to solve this through the creation of a pause, a new horizon that on one hand projects us from the ground to the descent of the slope and on the other, the construction define a space for the encounter. Thus, the landscape is an excuse and a backdrop for daily acts. The construction protects but emphasizes and reinforces the idea of dominance. For this, it is proposed to separate the program into two volumes, one with the common areas and another one with the bedroom areas.

The first volume is entered by the upper part of the site reaching a level with it. This is arranged perpendicular to the street so does not obstruct the view of the surrounding hills, and also generates that the work is perceived smaller in size, scaling, accompanying and not interrupting. Inside, the kitchen, dining room and living room (in that order from the entrance) share a single space that projects and finishes off a large window that frames the landscape. Its perimeter opens onto the backyard contained by the pool, which will be protected from the wind by the second volume.

The second volume is parallel to the level of the hill a floor below, transforming itself into support for the first volume. In addition to the terrace and the space for the patio/pool, this volume creates in its lower part a more intimate balcony for the bedrooms, creating an open and covered outdoor circulation. Above, the large terrace is an extension of the living room and the patio, projecting the views over the nearby roofs towards the lagoon. This new horizon, the break on the hills, tries to materialize the creation of a superposition of activities, and how the architecture and its relation and proximity with the surroundings enhance, qualitatively, the meeting of people, the experience of a context creating a space with the feeling of a place but always different.

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Most Architects Prefer Working in Organized Spaces, But Some Opt for "Organized Chaos"

Posted: 24 Feb 2018 04:00 AM PST

When we say "most" architects, we're basing our conclusion on the responses to our first AD Discussion of 2018. Even though Tim Harford, author of the book Messy, contends that disorder and a bit of confusion can be linked to spaces that inspire more creativity, our readers tend to disagree. In our review of comments on our article, the majority of respondents explained that workspaces with out-of-place objects negatively affected their ability to concentrate. Many responses alluded to their more efficient and prolific results gained by working in an organized space. But that doesn't mean that all ArchDaily readers agreed; there are still ardent defenders of "control chaos" who insist that their best work emerges from working beneath piles of papers or supplies.

Perhaps this debate seems irrelevant; "what's the point?" you may ask. But if we consider the number of architects who are designing offices and workspaces--at different scales and with different functions--we can start to see some merit to the conversation. Can we ensure that, through design, the organized and the disorganized have optimal environments for creation? We're all different and we all have the right to be comfortable (as long as we're being productive). How can we generate workspace designs that are not just multi-purpose but also "organizationally-flexible"?

And what characteristics, if any, might these hypothetically inclusive workspaces share with the controversial open-plan office?

Marc Goodwin's ongoing project of capturing architecture offices from around the world is a good place to start understanding the potential of spaces of creative production. If you check out his photo galleries of offices in Shanghai, Paris, Seoul, London and Scandinavia, you'll start to see that different workspaces adapt to different cultural norms and, perhaps, even, the preferences of their proprietors.

What do you think? Do you work in an office that inspires creativity? What aspects of the design do you attribute to this? Let us know!

Neat and Tidy or Messy and Cluttered: Which Inspires More Creativity?
While architects are known for promoting sleek, clutter-free spaces, we have to ask: is this the best way to inspire creativity? Personal preference certainly plays a large part in how you respond to a stark table-tops with nary a stray pencil--maybe this is your nirvana.

Why Open-Plan Offices Don't Work (And Some Alternatives That Do)
At my most recent job, I did all of my best work at home. I would actively try to avoid the office for as long as possible. At home, I had two desks and complete control over my environment. Distractions and breaks were choices. Once I went into the office, the environment changed.

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Watch Robert A M Stern Make the Case for Preserving Philip Johnson's AT&T Building

Posted: 24 Feb 2018 01:30 AM PST

Rendering of Snøhetta's renovation plans for the AT&T Building. Image © DBOX

In a recent film published by Metropolis Magazine, New York-based architect Robert A M Stern explains why we should care about Philip Johnson's controversial AT&T building. As landmark designation hearings to protect the buildings external facade continue, demolition of the lobby of this iconic Postmodern New York City skyscraper has already completed.

The designs by Snøhetta for the renovation of the building at 550 Madison Avenue have launched the building to the forefront of the debate about the preservation of Postmodern heritage. The plans include replacing the stone facade with undulating glass in order to transform the building's street presence. Should plans progress, the once prominent arched entry will sit behind fritted glass and stone covered columns will be unwrapped to create a hovering datum.

The AT&T Building. Image © David Shankbone

Architects like Stern and design advocates like Liz Waytkus, the executive director of the nonprofit preservationist group Docmomo US, are fighting for awareness about a new crop of Postmodern buildings that are now old enough to warrant renovations, but often not quite considered old enough to be declared historically significant.

Watch the film by Metropolis Magazine here to find out more about this critical moment for architectural preservation.

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L’ATALANTE / KOZ architectes

Posted: 24 Feb 2018 01:00 AM PST

Architects: KOZ architectes
Location: 25 Avenue du Maréchal Franchet d'Esperey, 75016 Paris, France
Architect In Charge: Christophe Ouhayoun, Nicolas Ziesel, Cécile Gayraud 
Area: 3545.0 m2
Project Year: 2016
Photographs: Cécile SEPTET

Project Team: KOZ Architectes EVP, Structural engineering DELTA Fluides, Fluid and thermal engineering PLAN 02, Ecodesign AXIO, Economy
Entreprises: BAUDIN CHATEAUNEUF, General contractor MATHIS, Carpenter
Client: Ville de Paris

Text description provided by the architects. We wanted Paris' biggest wooden amenity to be a real public place. Playing with its volumes allows to limit its emergence and to keep it quite narrow, making it almost an inhabited hedge. Only the vertical gesture creating the hall's « cathedral » hosting the climbing wall reveals its intense activity to the passers-by. This set-up allows a vast internal space, opened towards the Bois de Boulogne and continuous between two public gardens. It asserts itself on the boulevard and takes into account the existing pedestrian paths, welcoming everyone as a public place would.

The internal organization of the gymnasium is designed so that the progression towards activity spaces are the most spontaneous and so that every activity can take place without interfering with the others, all of this in beautiful conditions of natural light. All the internal circulations overlook on to activity spaces. This progress is structured around the «cathedral» of the hall overlooking on to the climbing wall which marks the entrance of the gymnasium. Having the sports hall and the climbing space semi- buried allows an important height while at the same time letting in a generous amount of natural light.

We wanted sport activities to express themselves among the urban fabric. Indeed sport often takes place in inclosed spaces when it should be transmitting it's joy and energy to the outside world.

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4 Best Instagram Hashtags To Follow If You Want to See Great Architecture

Posted: 24 Feb 2018 12:00 AM PST

The hashtag officially became part of the Oxford English Dictionary in 2014, and whether you tend to use them or not, they are a pretty unavoidable internet tool that helps users connect related internet content. Maybe you're hashtagging photos to get featured on a certain account or to poke some fun at yourself (see Justin Timberlake and Jimmy Fallon)? But serious ArchDaily readers have been using "#" to group beautiful photographs of architecture for the better part of a decade. When Instagram announced that it was possible to follow hashtags, die-hard taggers found a way to discover and like new content without actively seeking it out.

So which hashtags should you follow to find the best architecture photography? We've got some tried and true multi-million-image-associated tags and a hidden gem or two.

On Instagram, #architecture is associated with over 73.8 million posts, while over 8 million posts are linked by #architecturelovers, and over 5 million have been tagged as #architecturephotography. #Archdaily continues to climb to 2 million with inspiring posts of beautiful architecture photography being added to ArchDaily's Instagram everyday.

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nedjelja, 25. veljače 2018.

Arch Daily

Arch Daily

Neat and Tidy or Messy and Cluttered: Which Inspires More Creativity?

Why Open-Plan Offices Don't Work (And Some Alternatives That Do)

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