Arch Daily |
- AD Classics: Smith House / Richard Meier & Partners
- Lorentzinpuisto Apartments / Playa Architects
- Phong House / VHL.Architecture
- Renovation of Xi'an Dahua Textile Mill / China Architecture Design Group Land-based Rationalism D.R.C
- SHIMA / Keitaro Muto Architects
- Apartment 2606 / atelier.twelve
- 925 Building / JHW IROJE architects&planners
- House 28 / studio edwards
- Elevated Walkways, Aquariums and Mini-Golf Courses Among 17 Finalists in Competition to Transform New York’s Park Avenue
- George S. and Dolores Doré Eccles Theater / Pelli Clarke Pelli Architects
- Studies Show Ridesharing Services Like Uber, Lyft Actually Increase Congestion in Cities
- Kellogg School of Management / KPMB Architects
- Arena at Seattle Center Aims for NHL Expansion Team with $600 Million Populous-led Renovation
- Un Patio / P11 Arquitectos
- Spotlight: Lúcio Costa
- The Beautiful Drawings of Michelangelo Show Us Why Architects Should Be Polymaths, Not Specialists
- Woodland House / ALTUS Architecture + Design
- Temporary Pavilion in Malaysia Aims to Raise Awareness of Bamboo as a Construction Material
- Safdie Architects Selected to Design the Main Library and Cultural Center in Boise
- Villa IJsselzig / EVA architecten
| AD Classics: Smith House / Richard Meier & Partners Posted: 27 Feb 2018 08:00 PM PST  © Mike Schwartz Five decades ago, Carole Smith called Richard Meier and told him about a site in Darien, Connecticut that she had bought with her husband. This was a rocky piece of land with dense evergreens and coastal outcrops. A dramatic slope at the back of the plot gave way to the Long Island Sound and a small, sandy cove. Carole wanted to place her weekend home on this particular site and she commissioned Richard Meier to design the house for her. At that time, he was just 31. The Smith House was built between 1965-1967 by Richard Meier & Partners Architects. Richard Meier recalls of the residence that would later propel his career as an architect: ""I was working out of one room of a two-room apartment shortly after leaving the office of Marcel Breuer. One day I had a call from Carole Smith asking if I would be interested in designing a weekend house for her in Darien, Connecticut. She was looking for a young architect who would give full attention to her house." When Meier arrived on-site, he realized that the original plan for a sprawling ranch house would be the most expensive type to build: the land's foundation was almost entirely rock, and excavation costs would put the project's budget over the top. Instead, Meier opted to extend vertically instead of horizontally, so that it would be both more cost-effective and more spatially interesting, given the rocky, coastal landscape. This was the beginning of the design process.  Courtesy of Richard Meier & Partners Architects  Courtesy of Richard Meier & Partners Architects  Courtesy of Richard Meier & Partners Architects  Courtesy of Richard Meier & Partners Architects Meier wanted to create a programmatic separation between public and private areas. This is also how the house maintains some element of enigmatic mystery and surprise. Whereas most houses put on a welcoming show on the front and have their private rooms enclosed in the rear, Smith House takes an opposite route. The street-facing side of the house, where visitors enter, appears as an unassuming opaque white box punctured with dark glass openings. This is the private side of the house, encompassing a series of "closed, cellular spaces."  © Mike Schwartz The journey through the house is an unconventional one, shifting from the private rooms to an expansive public space at the rear. To enhance the house's spaciousness and height, Meier framed the open façade at the back such that a visitor's vision is bounded only by the sky above and the water right at the bottom  © Mike Schwartz  Courtesy of Richard Meier & Partners Architects "There is a formal layering, giving a sense of progression, as one moves across the site from the entrance road down to the shore, and the 'line of progression' determines the major site axis," Meier has written. "Perpendicular to this axis, the intersecting planes in the house respond to the rhythms of the slope, trees, rock outcroppings, and the shoreline." The rear façade uses enormous glass pieces, some measuring up to three-storeys high. Enclosed within the glass shell, the ground and upper levels appear as slabs fastened by white mullions.  View of the Living Room washed aglow with the light and refractions from the Connecticut shore. Image © Mike Schwartz  © Mike Schwartz "Suspended between the chimney and the steel structural columns, the glazed wall creates a subtle tension that draws the occupant across the living space to the outside," said Richard Meier's firm in a press release. "The balustrades of the lower and upper levels are set back from the glass, amplifying that tension." Chuck Smith recounted growing up in a Richard Meier-designed house. "I can't believe it's been 50 years since I first experienced the Smith House. I was only five years old then, but the childlike wonder I felt then comes back to me every time I walk up the ramp, inside the door, and feel Richard Meier's design."  Mr. Chuck Smith looking out at the view from Smith House. Image © Mike Schwartz At a time when design in America was more conservative, the suburban dwelling stood out for being so open and inviting. A September 1968 issue of House Beautiful described the house as a "lighthouse on the shore."  © Mike Schwartz 50 years later, Richard Meier's Smith House has come to define the architectural language and design philosophy of his firm. Meier changed Smith's initial idea of a splayed-out ranch house to the distinct vertical volume that it is now: a three-sided glass shell with an opaque white front that inserts itself into the natural landscape. The house is has a compact shape with clearly defined prisms and clear glazing that gathers the reflections of the interior and natural landscape, colluding them into inseparable images. Meier performed additions and subtractions on the main cubic volume, and the resultant white walls, geometric design, and layered use of glass have become Meier's trademark style. In comments to the press, Meier described the house and his way of looking at the space within:  © Mike Schwartz
In the five decades that have passed since Smith House was built, both the internal and external life of the house has remained largely unaltered. In the newer photographs taken by Mike Schwartz, white paint on the brick chimney has started to chip away, revealing spots of red below that give the home some age and character. Both the building and the architect have been distinguished with honors in the 50 years since the project was built. Smith House was awarded AIA's Twenty-five year award, conferred to projects that have stood the test of time and continue to set standards of excellence for their design and significance. Richard Meier won the Pritzker Prize; at 49, he was the youngest architect to receive his profession's highest accolade. Meier is also founder of Richard Meier & Partners. Among its best known works are: this very house, the Smith House in Darien, Connecticut; the Getty Center in Los Angeles, California; the United States Courthouse in Islip, New York; the Atheneum in New Harmony, Indiana, and the Douglass House in Harbor Springs. The later was added to the Natonal Register of Historic Places.  This posting includes an audio/video/photo media file: Download Now |
| Lorentzinpuisto Apartments / Playa Architects Posted: 27 Feb 2018 07:00 PM PST  © Tuomas Uusheimo
 © Tuomas Uusheimo Text description provided by the architects. Gunillankallio area is the first part of the new Kruunuvuorenranta residential area in eastern Helsinki. The project comprises three five storey apartment buildings next to the public Lorentzinkallio park (forest). The project is part of the subsidized HITAS –apartment program organized by the city of Helsinki. Furthermore, the project is the winning proposal of an architectural competition arranged by the city of Helsinki.  © Tuomas Uusheimo The site is a rocky slope facing northwest. The garage is below the courtyard on basement/street level. The basic C-shape of the buildings' floor plan is formed by following the contours of the site. This both enables the buildings to adapt to the demands of the slope and also orientates views from the apartments to the surroundings instead of the neighbouring buildings. The triangular shape of the balconies also emphasizes this aspect.  © Tuomas Uusheimo  Floor Plans  © Tuomas Uusheimo The apartments also benefit from the C-shaped floor plan by providing more façade, minimizing spaces without natural light and creating a triangulated series of spaces in the bigger family apartments. The buildings are characterized by the triangular cantilevered balconies and the narrow windowless northern façade, which is further accentuated by a cloud-like relief made of slightly modified off the shelf bricks. The monochromatic facades are of rough off-white handmade brick, white concrete and white painted steel.  © Tuomas Uusheimo  This posting includes an audio/video/photo media file: Download Now |
| Phong House / VHL.Architecture Posted: 27 Feb 2018 06:00 PM PST .jpg?1519646647 "© Kingkien") © Kingkien
.jpg?1519651239 "© Kingkien") © Kingkien Text description provided by the architects. When urban life is expensive, the dream of a home for "prosperity" is that many young couples settle in urban settings. The house was renovated on the current state of the structure of the factory, with masonry and prefabricated, recreating the close proximity to nature and low construction costs, the subject of which the owner fabricate. .jpg?1519657002 "© Kingkien") © Kingkien "Creating space, raising the living - raising the values of Vietnam" is the philosophy that VHL. Architecture pursues the design, allows for fast construction, but still ensures the quality of each living space, flexibility, proximity to nature and towards low construction costs. VHL. Architecture with the message to send to every investor has a different view on the construction of a house.  Status 01 PHONG HOUSE is a new concept of space and language, modern and traditional are interwoven. The revitalization of the living space of a furniture factory is degraded and dusty. The garden is covered in front of the balcony, the second floor balcony creates a sense of peace and relaxation, close to nature after the tired working time. .jpg?1519653169 "© Kingkien") © Kingkien Early in the morning, natural blue hits the eyes., the leaves rustle at night. This feeling makes people and nature become closer at all times, the space open but still have the necessary privacy. Ground floor is open space including kitchen, dining room and living room. The space is divided by the unconstrained norm between space, walk or standing wherever you can observe the remaining corners, everyone can see each other in a quiet way, listen to each other , call each other, think of each other.  First Floor Plan  Section A  Second Floor Plan The second floor is the sleeping and working space designed in an open form with green spaces in front of and behind the house creating a harmony between nature and people, connecting the long corridor of feeling far and near. .jpg?1519646359 "© Kingkien") © Kingkien  This posting includes an audio/video/photo media file: Download Now |
| Posted: 27 Feb 2018 04:00 PM PST  Aerial. Image © Frederic Henriques
 © Guangyuan Zhang Text description provided by the architects. The Dahua Cotton Mill, founded in 1930s', records the development track of Xi'an in the 20th century. The renovation project sets to transform the plant and production auxiliary room of the Cotton Mill.  © Guangyuan Zhang To redesign such a high-density factory into an attractive public place for arts activities and creative offices, the design scheme distinguished the individual buildings with different ages and treated them with different design methods.  © Guangyuan Zhang  Site plan  © Guangyuan Zhang For the elder ones, those smaller and separated brick-timber buildings, the "careful addition" strategy is used to add some small-scale structure to connect functional spaces and make the courts into café, restaurant and other service facilities.  © Guangyuan Zhang Those huge structures built in recent years are revaluated with their remarkable sawtoothed skylight. By the "positive subtraction" strategy, the original auxiliary rooms are displaced by streets and plazas, which form a new pedestrian system that invites citizen to enter the culture park for culture activities.  © Guangyuan Zhang  This posting includes an audio/video/photo media file: Download Now |
| SHIMA / Keitaro Muto Architects Posted: 27 Feb 2018 02:00 PM PST  © APERTOZERO
 © APERTOZERO Text description provided by the architects. By the client words "court yard" and "having a picnic in the house", they have been guided plant a big tree at courtyard and architecture figure and composition snuggling up to it.  © APERTOZERO Project site is far from central Gifu city with field-studded though, new residential houses have been rapidly built. In general, the coherent architecture with courtyard have been designed closed spaces. But it has been tried to design that the existence of courtyard has been opened toward public with keeping protect privacy.  © APERTOZERO In consideration of a flooded area by hazard map, inside and courtyard heights have been land up to 1.2 meters from road heights. Also it has been gently prevented the view line from road.  Section The garage of road side has been built as low as possible, and green garden has been made on their roof.  © APERTOZERO A big tree (Acer sieboldianum) was planted in center garden, three ways roofs facing the garden have been designed cone shape and the roof cantilever from core structure of outer perimeters  © APERTOZERO The roof along the figure of tree have been consist of the figure of cutting out sky. Cutting out big sky has been existed not only city (public) but also residentiary (I) and the big tree has been giving color to city and residentiary.  1st Floor Plan The roof has been paneled red cedar boards. With growing up the tree, they have been losing substance and have blending with nature. The spaces have been sterically involved around the courtyard with the big tree. Therefore, it has become a generous house which seems like having a picnic anywhere in the house.  © APERTOZERO  This posting includes an audio/video/photo media file: Download Now |
| Apartment 2606 / atelier.twelve Posted: 27 Feb 2018 12:00 PM PST  © Hoang Le
 © Hoang Le Text description provided by the architects. In the context of the booming development of new urban areas to meet with increasing housing megacities of Vietnam. The project scope is to renovate a 150sqm apartment on the 26th floor of the building within an expansion project Southwest of Hanoi. The project is an experiment, trying to answer the questions "how you can live in a horizontally with only one direction of daylight?"  Furniture Axonometry Diagram The client is a business couple, the husband loves music and the wife likes a space full of light, they want a living space where music and daylight can flow together and spread to every corner. The original apartment layout has 3 bedrooms with some large windows. The new design removes a closed room in the front, enlarges the balcony and brings daylight inside. The functions are linked together around a green balcony.  © Hoang Le Solid wood is the main material, different types of wood are kept in its natural colours. Two bedrooms and bathrooms are enclosed by wooden blocks, the living room outside has a special sound-absorbing patterned wood wall, designed for better sound quality from the audio system. The Dining room connects to the green space with wooden roof structure reminiscent of a tea house or a meditation room that customers have experienced. Many of the seats are arranged freely to feel the light, relax, see the wind blowing through the trees, listen to music, watching the city at night, chatting, drinking tea ... or simply sitting down without thinking...  © Hoang Le  This posting includes an audio/video/photo media file: Download Now |
| 925 Building / JHW IROJE architects&planners Posted: 27 Feb 2018 11:00 AM PST  © Kim, Youngkwan
 © Kim, Youngkwan Site and Streetscape: The building is located in the backstreet of the cheongdam intersection, where luxury brand shops and opulent apartments and houses boast their unique form. It is surrounded by the Hyundai and Gusan Apartment complex and other commercial facilities that are more than ten stories high.  © Kim, Youngkwan Structure and Expansion of the Interior Space: Abiding by the condition that the mass had to decrease as it reached its higher levels, the structure was planned by placing four of the long span PT beams in the same location on all floors. The remaining structure is organised with a cantilever structure, which led to the expansion of the interior space without any independent columns.  © Kim, Youngkwan Architectural Regulations and the Double Skin: The site has a precondition by which the Hyundai and Gusan Apartment complex had to be adjacent due to the difference in the level of 3.5m from the 6m front road to the back. The main issue was securing privacy between the office and residential space. Due to the setback regulations, the mass had to have an inclined plane or a volume that does not bend more than two levels. In order to have an efficient ground floor, an exterior terrace was created for five of the floors, excluding the ground floor, and covers the entire volume with a skin (transparent material) to create a double level form exterior volume.  © Kim, Youngkwan  Section 1  © Kim, Youngkwan The open ratio of the double skin was increased for the exposed part to meet the setback regulation and was able to achieve some freedom in composing the form within the regulation. The terraces connected to the interior space were placed to view the varied scenery of the Yeoungdongdaegyo Bridge, the Jamsil Olympic Stadium, and the Hangang River, according to the character of each floor.  © Kim, Youngkwan  This posting includes an audio/video/photo media file: Download Now |
| Posted: 27 Feb 2018 09:00 AM PST  © Tony Gorsevski
 © Tony Gorsevski Text description provided by the architects. A container house on the Surf Coast in Wye River, Victoria. Designed as a weekend retreat & made from three 20ft shipping containers.  © Tony Gorsevski Two connect to form the living space with toilet, laundry & entry. The third a sleeping wing with two bedrooms, toilet & shower. Connected by a external deck on steel stilts which sit on deep concrete pile foundations- anchoring the house to the hillside.  © Tony Gorsevski Internally the spaces are lined with marine plywood. Externally insulated & clad with galvanised steel sheeting. The northern face of the house has fixings to allow for planting wires to connect to the ground, encouraging native plants to grow over the house.  © Tony Gorsevski The Southern facade is predominately glazed with a series of double glazed doors & windows opening onto the decking which looks southwards through the trees towards the ocean.  Detail A green roof planted with native dichondra sits above, providing additional thermal insulation & rainwater filtration.  © Tony Gorsevski  This posting includes an audio/video/photo media file: Download Now |
| Posted: 27 Feb 2018 08:00 AM PST  Courtesy of Fisher Brothers Seventeen entries have been selected as finalists in the "Beyond the Centerline" competition, which is seeking ideas for how to "re-envision and enliven the traditional traffic medians of the Park Avenue commercial district between 46th and 57th Streets." Organized by development company Fisher Brothers, the ideas competition asked architects to submit their "most ambitious and creative visions unencumbered by zoning code, cost, weight limit, or other restrictions." "While Park Avenue, with its median plantings and periodic art installations, remains one of the world's most iconic commercial boulevards, I have long believed that we can and must be far more imaginative in how we encounter and utilize such a precious urban commodity," said Fisher Brothers Partner Winston Fisher about the competition prompt. "We are overwhelmed by the response – with nearly 150 submissions received from artists, architects, landscape architects, urban planners, and students – and blown away by the level of thought, creativity and attention to detail that went into the bold designs and sophisticated renderings," Fisher continued. "Our hope is that this contest and these proposals will spark a real conversation about what can be done to activate Park Avenue's centerline for a new generation of New Yorkers." The top 17 designs will on display in the public arcade of Park Avenue Plaza from March 5th through March 9th. The $25,000 grand prize and $5,000 popular vote winners will be announced on March 13th. Check out the finalists below: F005-1 "Botanical Circus" / Terrain Work .jpg?1519758401 "F005-1 \"Botanical Circus\" / Terrain Work. Image Courtesy of Fisher Brothers") F005-1 "Botanical Circus" / Terrain Work. Image Courtesy of Fisher Brothers C028-5 "Elevated Walkway" / Jonathan Elmore .jpg?1519758289 "C028-5 \"Elevated Walkway\" / Jonathan Elmore. Image Courtesy of Fisher Brothers") C028-5 "Elevated Walkway" / Jonathan Elmore. Image Courtesy of Fisher Brothers E021-4 "Aquarium" / Eric Spencer .jpg?1519758312 "E021-4 \"Aquarium\" / Eric Spencer. Image Courtesy of Fisher Brothers") E021-4 "Aquarium" / Eric Spencer. Image Courtesy of Fisher Brothers E004-1 "Mini Golf" / Michelle Schrank .jpg?1519758420 "E004-1 \"Mini Golf\" / Michelle Schrank. Image Courtesy of Fisher Brothers") E004-1 "Mini Golf" / Michelle Schrank. Image Courtesy of Fisher Brothers B017-4 "Elevated Walkways, Carnival Ride" / Daniel Elmore .jpg?1519758333 "B017-4 \"Elevated Walkways, Carnival Ride\" / Daniel Elmore. Image Courtesy of Fisher Brothers") B017-4 "Elevated Walkways, Carnival Ride" / Daniel Elmore. Image Courtesy of Fisher Brothers B030-1 "Yoga Studio" / AMLGM ArchitectureDesign .jpg?1519758343 "B030-1 \"Yoga Studio\" / AMLGM ArchitectureDesign. Image Courtesy of Fisher Brothers") B030-1 "Yoga Studio" / AMLGM ArchitectureDesign. Image Courtesy of Fisher Brothers F005-4 "Floating Garden" / Terrain Work .jpg?1519758302 "F005-4 \"Floating Garden\" / Terrain Work. Image Courtesy of Fisher Brothers") F005-4 "Floating Garden" / Terrain Work. Image Courtesy of Fisher Brothers E019-3 "Parks" / Harrison Green .jpg?1519758412 "E019-3 \"Parks\" / Harrison Green. Image Courtesy of Fisher Brothers") E019-3 "Parks" / Harrison Green. Image Courtesy of Fisher Brothers B010-1 "Living Walls" / Matthew Scarlett .jpg?1519758379 "B010-1 \"Living Walls\" / Matthew Scarlett. Image Courtesy of Fisher Brothers") B010-1 "Living Walls" / Matthew Scarlett. Image Courtesy of Fisher Brothers B043-3 "30-ft Stalks" / Wilkinson Architects .jpg?1519758444 "B043-3 \"30-ft Stalks\" / Wilkinson Architects. Image Courtesy of Fisher Brothers") B043-3 "30-ft Stalks" / Wilkinson Architects. Image Courtesy of Fisher Brothers C014-3 "Subterranean" / Studio Ames .jpg?1519758266 "C014-3 \"Subterranean\" / Studio Ames. Image Courtesy of Fisher Brothers") C014-3 "Subterranean" / Studio Ames. Image Courtesy of Fisher Brothers B039-5 "Mimosa Pudica" / Marin Architects .jpg?1519758467 "B039-5 \"Mimosa Pudica\" / Marin Architects. Image Courtesy of Fisher Brothers") B039-5 "Mimosa Pudica" / Marin Architects. Image Courtesy of Fisher Brothers C010-2 "Art Installation" / Maison .jpg?1519758456 "C010-2 \"Art Installation\" / Maison. Image Courtesy of Fisher Brothers") C010-2 "Art Installation" / Maison. Image Courtesy of Fisher Brothers B009-1 "Subterranean Arcade" / Gaffney-Nguyen Architect .jpg?1519758389 "B009-1 \"Subterranean Arcade\" / Gaffney-Nguyen Architect. Image Courtesy of Fisher Brothers") B009-1 "Subterranean Arcade" / Gaffney-Nguyen Architect. Image Courtesy of Fisher Brothers B018-3 "Wandering River with Kayaks" / Local Architects .jpg?1519758366 "B018-3 \"Wandering River with Kayaks\" / Local Architects. Image Courtesy of Fisher Brothers") B018-3 "Wandering River with Kayaks" / Local Architects. Image Courtesy of Fisher Brothers B025-4 "Mountain" / ATYPE Architecture .jpg?1519758356 "B025-4 \"Mountain\" / ATYPE Architecture. Image Courtesy of Fisher Brothers") B025-4 "Mountain" / ATYPE Architecture. Image Courtesy of Fisher Brothers B018-5 "Skate" / Local Architects .jpg?1519758320 "B018-5 \"Skate\" / Local Architects. Image Courtesy of Fisher Brothers") B018-5 "Skate" / Local Architects. Image Courtesy of Fisher Brothers C010-4 "Baskteball" / Maison .jpg?1519758256 "C010-4 \"Baskteball\" / Maison. Image Courtesy of Fisher Brothers") C010-4 "Baskteball" / Maison. Image Courtesy of Fisher Brothers C019-1 "Forest" / Harrison Green .jpg?1519758433 "C019-1 \"Forest\" / Harrison Green. Image Courtesy of Fisher Brothers") C019-1 "Forest" / Harrison Green. Image Courtesy of Fisher Brothers B036-4 "Parks" / JBA Collective .jpg?1519758279 "B036-4 \"Parks\" / JBA Collective. Image Courtesy of Fisher Brothers") B036-4 "Parks" / JBA Collective. Image Courtesy of Fisher Brothers See the full boards for each finalist proposal, here.  This posting includes an audio/video/photo media file: Download Now |
| George S. and Dolores Doré Eccles Theater / Pelli Clarke Pelli Architects Posted: 27 Feb 2018 07:00 AM PST  © Jeff Goldberg / ESTO
 © Jeff Goldberg / ESTO Text description provided by the architects. The George S. and Dolores Doré Eccles Theater began as an urban master plan designed by Pelli Clarke Pelli Architects for an entire city block in Salt Lake City. Multiple stakeholders, the Redevelopment Agency of Salt Lake City, and private developers were involved in enhancing the development of the area, which included placing an air rights office tower and a performing arts center on the same block.  © Jeff Goldberg / ESTO In Salt Lake City, blocks average around 660'x660'—in New York City, the short side of the blocks average 265'. This provided a critical challenge in developing connectivity and the creation of active exterior and interior public spaces to invite pedestrians inward while maintaining the integrity of the city  © Jeff Goldberg / ESTO After the completion of the master plan, the 2,500-seat, state-of-the-art George S. and Dolores Doré Eccles Theater was designed as an urban performing arts center, celebrating the architecture of Salt Lake City and the landscapes and skies of Utah. In the tradition of other PCPA projects in cities like Charlotte, Cincinnati, Dayton, Chicago, and Madison. Each of these buildings is characterized by the need to create an important landmark identity and, most importantly, to enhance and fit into the city's fabric. This challenges the designers to address the technical and architectural demands of a performing arts center while elegantly contributing to the character of the surrounding city.  © Jeff Goldberg / ESTO The building has two major parallel "fronts" of differing but related character. From Main Street, visitors enter the theater lobby/winter garden, which has the ability open up to the street. The theater's primarily glass Main Street façade recalls the architectural elements of Salt Lake City architecture. A large L-shaped frame of limestone, a material used in prominent Salt Lake City buildings, simultaneously separates and unifies the performing arts center and the office tower above it. A smaller frame defines the glowing and transparent lobby winter garden.  Section The Regent Street façade is more casual than its Main Street counterpart. Retail shops, the rehearsal room lobby, and the entrance to the Galleria surround the stage door, which would normally be concealed from view. On the south end of the building is the Regent Street Plaza, which doubles as a loading area and event space. The acoustically-glazed black box theater projects over the public space and the large loading gates. This functional space during loading and unloading converts to a lively event space at all other times, hosting parties, performances, farmer's markets, and other public functions.  © Jeff Goldberg / ESTO At the heart of the complex is the large proscenium theater residing off the main street lobby, which allows for accommodation of the backstage and other support spaces off Regent Street. This makes the tall lobby space highly visible to the street, creating an active urban presence. Site specific public artwork helps to energize the space. The theater itself recalls the terraced Utah landscape, a composition of warm colored panels, gold-toned perforated metal, and points of light that make the space sparkle. The ceiling looks like the night sky with tiny, star-like lights seemingly suspended in dark, acoustic material that conceals the banks of stage lighting and mechanical equipment above.  © Jeff Goldberg / ESTO  This posting includes an audio/video/photo media file: Download Now |
| Studies Show Ridesharing Services Like Uber, Lyft Actually Increase Congestion in Cities Posted: 27 Feb 2018 06:00 AM PST  Traffic on the freeway in Los Angeles. Image <a href='http://https://pxhere.com/en/photo/622467'>available in the public domain</a> Despite being heralded as services that will reduce congestion on our streets, ride-hailing companies like Uber and Lyft actually are making traffic problems worse, a new study from Boston's Northeastern University has revealed. The study showed that in many cities rather than encouraging commuters to leave their own personal vehicles for shared rides, the apps are instead siphoning ridership from higher-capacity transportation options such as buses and subways. The report also found that riders do not use the apps to connect to existing public transportation lines, as Uber founder Travis Kalanick has suggested, but primarily to travel directly to their final destinations. A survey cited in the report of more than 4,000 adults in seven of the United States' largest metro areas revealed that between 49 and 61 percent of ride-hailing trips would have been made by other options, or not made at all, if the service didn't exist. To make matters worse, a case study conducted in San Francisco last summer found that the increased congestion occurred in areas of the city that already suffered from the worst traffic issues. With the launch of Uber's Express Pool service this week – which connects riders to efficient stops along their route, instead of an exact location (an idea lifted from other express ridesharing apps such as Via) – experts fear that the problem may only be exasperated going forward. Read the full story from the Associated Press, here.  This posting includes an audio/video/photo media file: Download Now |
| Kellogg School of Management / KPMB Architects Posted: 27 Feb 2018 05:00 AM PST  © Bruce Damonte
 © Nic Lehoux Text description provided by the architects. Located on the shore of Lake Michigan, on Northwestern's campus and with views of the Chicago skyline directly to the south, every element in the design of the new Global Hub for Kellogg is inspired by the School's vision to rehabilitate business as a constructive and positive force for the benefit of humanity.  © Bruce Damonte  Site Plan  © Bruce Damonte The large, five-story LEED Platinum building is designed to optimize flexible, adaptable spaces for learning and collaboration at every scale, from 2 to 20, to 200 to 2000. All program spaces converge at the centre, at the Collaboration Plaza, a three-story atrium where students, faculty and visiting leaders gather. The Faculty Summit, a two-story piazza, forms the intellectual soul of the Global Hub, and offers a place for faculty to discuss, debate and find solutions to the pressing issues of the day.  © Bruce Damonte The winning entry in an invited design competition in 2011, the building opened on March 29th, 2017. It has quickly gained coverage in Canada and the United States, in The Globe and Mail as well as Forbes. Blair Kamin of the Chicago Tribune, described it as a "carefully wrought, spatially complex design that promises to teach future executives valuable lessons about collaboration, boldness and flexibility."  © Nic Lehoux  This posting includes an audio/video/photo media file: Download Now |
| Arena at Seattle Center Aims for NHL Expansion Team with $600 Million Populous-led Renovation Posted: 27 Feb 2018 04:00 AM PST .jpg?1519749758 "Courtesy of Populous") Courtesy of Populous Seattle's historic KeyArena is set to receive a $600 million renovation that will transform the venue into the region's "premier sports and entertainment destination" as part of plans to launch the city's first-ever NHL team. Designed by Populous, the renovation will open up the arena to its surroundings, specifically the 72-acre Seattle Center, site of the 1962 World's Fair and home to the currently under-renovation Seattle Space Needle. As part of the project, the sports venue will be rebranded as "The Arena at Seattle Center." .jpg?1519749669 "Courtesy of Populous") Courtesy of Populous .jpg?1519749770 "Courtesy of Populous") Courtesy of Populous The design scheme focuses on "[blurring] the lines between inside and outside experiences" through an extensive use of glass and improved site circulation. A new atrium will welcome in visitors and bring light into the interior, while a pedestrian plaza at the south end of the site will create an outdoor space for gathering and events. Interior spaces will be completely redesigned, adding new clubs and social spaces to the bowl. Paying homage to the structure's history, the finished product will remain loyal to the original design intent envisioned by architect Paul Thiry. .jpg?1519749538 "Courtesy of Populous") Courtesy of Populous .jpg?1519749521 "Courtesy of Populous") Courtesy of Populous "Open, inviting and simply unforgettable while respecting the landmark history; these are the principles that continue to drive our design of the renovations to the Arena at Seattle Center," said Kurt Amundsen, Principal at Populous. "We are proud to be working with Oak View Group to re-define the arena as a world-class entertainment venue for the Northwest." The renovation of the Arena at Seattle Center are expected to be completed by 2020. News via Populous .jpg?1519749555 "Courtesy of Populous") Courtesy of Populous .jpg?1519749845 "Courtesy of Populous") Courtesy of Populous .jpg?1519749658 "Courtesy of Populous") Courtesy of Populous .jpg?1519749858 "Courtesy of Populous") Courtesy of Populous  This posting includes an audio/video/photo media file: Download Now |
| Posted: 27 Feb 2018 03:00 AM PST  © Eduardo Calvo Santisbon
 © Eduardo Calvo Santisbon "Un Patio" is a single-family housing project, located north of the city of Mérida in the state of Yucatán, on a rectangular plot of approximately 24 x 39 m, oriented east-west.  © Eduardo Calvo Santisbon The project is planned for a family where coexistence with art is fundamental, a central space is conceptualized, where the art, the user and the natural elements converge daily, resulting in a quadrangle containing a concentric central courtyard , which responds to a set of intersected volumes.  © Eduardo Calvo Santisbon The main volume, a square of 12 x 12 m consists of a sequence of loose volumes inside, which contains the private areas of the project, protruding from the concentric arrangement, is located a second volume at double height of 9 x 9 m intersecting the quadrangle containing the social areas.  © Eduardo Calvo Santisbon  Lower Floor Plan  © Eduardo Calvo Santisbon The intersection between the volumes is marked by the use of different materials, in the first, the exterior walls, interiors and ceilings are completely covered with a mixture of concrete and chukum water (tree endemic to the region), characteristic finish of the zone, of null maintenance and strong Yucatecan identity, this being a highly sustainable material. As a counterpart to the second volume, with a smaller dimension and greater height, it is covered with a white finish, emphasizing the general volume, in this one is the living room, the dining room, a study and the double height terrace contained within the margin of a steel beam on which rests a concrete celosia that gives language and identity to the different volumes.  © Eduardo Calvo Santisbon  Section E  © Eduardo Calvo Santisbon The central courtyard expresses the relationship between the interior and exterior space, this is drawn from an aspen inscribed in the ground, becoming the heart of the project and conceived as a concentric vestibular space, where the routes are accompanied by art, inputs of natural light and ventilation, through the use of concrete block celosias and glass windows that generate a space for contemplation and whose atmosphere changes with respect to solar incidence, granting control of light, humidity and ventilation for the preservation suitable for paintings and sculptures belonging to the collection of the clients.  © Eduardo Calvo Santisbon "Un patio"  This posting includes an audio/video/photo media file: Download Now |
| Posted: 27 Feb 2018 02:30 AM PST  The monumental axis central to Costa's plan. Image © <a href='https://commons.wikimedia.org/wiki/File:Monumental_axis.jpg'>Wikimedia user Limongi</a> Licensed under <a href='https://creativecommons.org/licenses/by/3.0/deed.en'>CC BY 3.0</a> Brazilian planner, preservationist and modernist thinker Lúcio Costa (27 Feburary 1902 – 13 June 1998) is best known for his 1957 plan of Brasília that shaped the Brazilian capital into a monument to utopian modernism. A resolute and often controversial figure in the Brazilian establishment, Costa's contributions to Brazilian architecture helped to shape the distinctive modernism that was practically Brazil's official style until the 1980s.  Lúcio Costa. Image <a href='http://archi.ru/russia/image_large.html?id=65692'>via archi.ru</a> Educated internationally, Costa graduated from the Escola Nacional de Belas Artes at the age of 22 and, only 6 years later, returned in a partnership to direct the school. While he did not prove popular (and was forced out by the collective will of both students and faculty) his style of modernism ultimately did. Working with a team of young Brazilian architects and Le Corbusier, his Ministry of Education and Health in Rio de Janeiro became a concrete statement of the path Brazil would take in the 20th century. It was also this project that helped propel Oscar Niemeyer, Brazil's titan of modernism, from an intern to the architect who would later take on the monumental buildings of Costa's Brasília plan.  Costa's Gustavo Capanema Palace (also known as the Ministry of Education and Health) in Rio de Janeiro. Image © Marina de Holanda With Niemeyer designing, in quick succession, the institutions of the state, Costa was free to concentrate solely on the urban plan of the city. Although Niemeyer's buildings became Brasília's face, Costa was the one who gave the city its utopian soul, designing the residential areas in forested 'superblocks' that were equipped with leisure and sports facilities accompanied by small shopping areas for residents, luxury and affordable alike. Costa designed the quintessential modernist city and one that has resonated through generations of urban planners, and Costa himself—although later facing fierce criticism—never stopped defending Brasília's design.  The original pilot plan. Image Courtesy of O Espaço Lúcio Costa  A model of the planned Brasília. Image Courtesy of O Espaço Lúcio Costa Costa joined the Brazilian Historic and Artistic Heritage Institute in 1937 and later led the organisation until his retirement, leading a charge to document architectural heritage in Brazil while using his influence to decide exactly which heritage to preserve—and which to remove, leading to the loss of a great deal of non-Portugese history from Brazil's built environment at the hands of him and many who were influenced by him.  The Asa Sul district of Brasília. Image Courtesy of Portal da Copa  Facade of the Gustavo Capanema Palace. Image © Imagens AMB  This posting includes an audio/video/photo media file: Download Now |
| The Beautiful Drawings of Michelangelo Show Us Why Architects Should Be Polymaths, Not Specialists Posted: 27 Feb 2018 01:30 AM PST  © Duo Dickinson This article was originally published by Common Edge as "Michelangelo's Lesson: Specialization in Architecture is Not The Only Way." A recent exhibition at The Metropolitan Museum in New York, Michelangelo: Divine Draftsman & Designer, provided a thrilling glimpse into the mind and methods of a true polymath. The exhibit has just closed, so I offer this selection of images. Photography was encouraged, and the intimacy of the presentation allowed insights and realizations. I've been studying or practicing architecture for 45 years, and the exhibit clarified how architects can think about what they do. It probably meant similar things to everyone feeling its resonant beauty, but I saw the complexities of a creative life in mid-application.
 © Duo Dickinson Curator Carmen C. Bombach makes Michelangelo Buonarroti's sprawling, complex and interweaving intellect transparent and bracing. There is a mockup of the Sistine Chapel ceiling. A huge 16th-century architectural model used in the design of a chapel. A study for a fresco is fully exposed. And of course there are paintings, sculptures and architectural drawings arrayed in a gentle flow I could see before the hordes arrived. If I were a historian, I could expound on the intricacies and lyric joy found in "Disegno," the Renaissance theory that all beauty was found in nature and the foundation of all art. But it is more than that.  © Duo Dickinson The effortless confluence of words, drawings, music, humans, buildings, carbon lines and sepia ink revealed a reality that we're losing in the avalanche of technology. As our knowledge is collected, filtered and coordinated in huge new databases, the human impulse is to master the technology, so that it becomes your slave: no CAD monkeys, just turn the Artificial Intelligence into your monkey, the largest and latest puppet to be mastered. That may yet happen.  © Duo Dickinson But the effective reality is that every profession is splintering into specialization. There are now hundreds of types of doctors. Scores of lawyer specializations. Where architects were once, like veterinarians, just "Large Animal" and "Small Animal," building has now spawned any number of architect-trained consultants that focus on roofs, curtain walls, lighting, sustainability, energy conservation, insulation, security, development, information management, HVAC systems, graphics, universal design, interiors, as well as any and all pecularizations of building function: cities, prisons, libraries, transportation, commercial, judicial, academic, multi-residential, hospitals, assisted living, retail, religious, and on and on and on. The balkanization of architecture into constellations of independent operators of exclusive expertise wrecks the simplicity of conception, natural elegance of thought, and effortless coincidence of architecture, words, music, bodies and things that danced through the rooms of the Met.  © Duo Dickinson One-hundred-thirty-three small drawings were set to bright light, many with both sides exposed as the precious 16th paper was used twice, front and back. The metaphor is obvious: why not use both sides? Why not be simultaneous and not sequential? Why not think of all things, not some things, when we design buildings? Why copy when you can invent? Using the only architectural language available to him, Michelangelo created sparkling new out of old. Why exclude history, the ways of reflecting the memories and uses that are woven into those who use the buildings? Why speak in tongues, using language that makes clarity impossible?  © Duo Dickinson Why relegate materials to categories—all white, wood or stone, as space, solid and void—without recognizing movement, time, water, gravity? Why design for the screen: the perfect image frozen in two-dimensions when the experience of movement is how we humans use all buildings? Why not both/and, using Both Sides Of The Paper? One drawing shows the sepia ink of a portico's design on one side, and on the obverse the muscled study sketch for a sculpture. The sepia ink bleeds through to the backside of the paper and then carbon is applied over that: instant synergy. Body and Building: overlapping, combining, being a singularity in the mind of their creator, not the distinct, separate, distilled denial of each other. Other drawings actually show the frozen evolution of architecture from detail to line to shape and back again, as the length, form, trim and detail evolve on one sheet of paper: simply because there was no trace to layer over layer over layer, removing the past in the layer under the current one. I think he saw the value of the last drawing as he sketched over it – the drawing as a living, growing thing. Architects naturally think this way: all things at once, a stew of thought, but many want to offer up a finished product of pristine distillation. Why present a polemic when we can have a conversation?  © Duo Dickinson We can limit our language to the coolly distilled, but sometimes less is, well, just less. Sometimes more does not dilute or obscure, it enriches, not everything, all the time: but far more than what we're often taught. And now, the profession is shifting to where the default setting is simply "less." But that could preempt what you see here. Instead, the machines can be used by humans, who strive to overlap, recombine and weave anything they want them to. Michelangelo created music, prose, poetry, muscles, eyes, fingers with walls, roofs, trim with color and light and material and shape. All in small drawings. All at once. Just the way we think. Look at these drawings, listen for the 400-year-old explosion of creativity.  © Duo Dickinson Technology has always changed us. We have surfed the media and the media has changed the way we think: from wood, to animal skin, to tracing paper, to pixels and electrons. How we create is always changing, but now we can rediscover what makes our minds think spontaneously, or we can choreograph what we agree is prudent We can remember the value of creating, or we can be safe in our defendable use of the tools we should control. Control or be controlled, it is up to us. Duo Dickinson has been an architect for more than 30 years. The author of eight books, he is the architecture critic for the New Haven Register, writes on design and culture for the Hartford Courant, and is on the faculty at the Building Beauty Program at Sant'Anna Institute in Sorrento, Italy.  This posting includes an audio/video/photo media file: Download Now |
| Woodland House / ALTUS Architecture + Design Posted: 27 Feb 2018 01:00 AM PST  © Paul Crosby
 © Paul Crosby Text description provided by the architects. Sited on a wooded plateau overlooking a wetland and lake beyond, this new residence seeks to quietly integrate into the surroundings while capturing dramatic views and optimizing natural light. Organized as a single-level home, the "realms" of the program are defined by three wood clad wings that are connected by glass entry links. The placement of the wings of the house creates an arrival courtyard complemented by a free-standing "mystery object".  © Paul Crosby  Site Plan  © Paul Crosby The exterior composition of the house is dark-stained cedar wood and glass with stone base and fireplace of bluestone. The finish of the wood siding is intended to blend in with the surrounding colour of the bark of the trees on the site while the detached out-building, or "shiny shed", for storage is intended to be a counterpoint to the house that dissolves into the woods by fragmented reflections of the surroundings.  © Paul Crosby  Courtesy of ALTUS Architecture + Design The interior of the home is designed for a couple with a preference for a warm, clean and uncluttered living space. Comprised of walnut flooring, exposed wood beams and unassuming white walls and volumes embedded within the grid of structure and fenestration, the interior is hushed while maintaining a consistent connection to its dynamic surroundings.  © Paul Crosby  This posting includes an audio/video/photo media file: Download Now |
| Temporary Pavilion in Malaysia Aims to Raise Awareness of Bamboo as a Construction Material Posted: 27 Feb 2018 12:00 AM PST  © Pixelaw The use of bamboo in construction is not yet widespread. This is the reason why Eleana Jamil proposes the use of this sustainable material in different configurations, resulting in a resistant, light and permeable structure. The project, an urban pavilion in Malaysia built mainly with circular bamboo rings, explores the different possibilities of the linear material with a variety of measurements and links of joinery and strings.
From the architects: A pavilion made from circular bamboo rings has been designed and built in collaboration with UNHabitat for the World Urban Forum 2018 which Kuala Lumpur city is hosting from the 7th through to the 13th of February 2018. Situated in a quiet open square next to Klang River in one of the oldest parts of the city, the bamboo structure intends to increase awareness of the sustainable material in building structures. Despite the increasing popularity of the local material, its use in construction is still not widespread.  © Pixelaw  © Pixelaw Our design comprises of four bamboo screen walls enclosing a space of 4 meters by 4 meters in plan. The walls are covered with 100mm long rings cut from bamboo poles which are left over from previous projects. Semi-translucent colored panels, alluding to the colors of UN sustainable design goals, cover some of the bamboo rings in a random manner. The colored panels emit some light, and like that of stained windows, they illuminate the space inside with an interesting play of colors. A central opening in the roof creates a courtyard in the center, where a bamboo plant is placed.  © Pixelaw  © Pixelaw The bamboo pavilion is also known as the 'Urban Brains' where it will act as an incubator of sustainable urban design ideas. Visitors are encouraged to express their pledges for a better city by writing them down on the colored bamboo rings. At the end of the forum, the pavilion - completely filled with people's pledges - will be moved to different parts of the city.  Axonometric Custom-designed bamboo stools made from short poles tied together with rattan strings are placed inside and outside the pavilion, allowing visitors to sit and enjoy the space as well as participate in programs organized by UNHabitat.  Roof Plan / Section Architect: Eleena Jamil Architect  This posting includes an audio/video/photo media file: Download Now |
| Safdie Architects Selected to Design the Main Library and Cultural Center in Boise Posted: 26 Feb 2018 10:00 PM PST  <a href='https://www.flickr.com/photos/david-lyon/6696935065'>Flickr user David Lyon</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Last week, Boise City Council unanimously approved world-renowned Safdie Architects to lead the local design team for the new cultural and civic center in downtown Boise. The center will expand the main library and bring it into the 21st century as well as becoming the new home for Boise Department of Arts & History that will house a performing arts venue for 400 capacity, gallery, and retail space.
The 2015 AIA Gold Medal Winner Moshe Safdie is more than familiar with designing cultural, civic, and educational institutions. Back in 2002, the firm was responsible for the award-winning Salt Lake City Public Library and have gone on to design the Kauffman Center for the Performing Arts with its iconic fanning geometry and the flower-like structure that is the Artscience Museum in Singapore.
As part of the 12-week contract approved by Boise City Council, Safdie will work on restoring the main library. Formerly a hardware warehouse built in the 1940s, it was converted into the library in 1973 and has continuously increased in popularity until it can no longer meet the public's needs. The new building will boast 150,000 square feet with 110,000 square feet to be dedicated to the library and provide for the many generations to come. News via: Safdie Architects.  This posting includes an audio/video/photo media file: Download Now |
| Villa IJsselzig / EVA architecten Posted: 26 Feb 2018 09:00 PM PST  © Sebastian van Damme
 © Sebastian van Damme Text description provided by the architects. The villa is situated overlooking the river Hollandse IJssel. The riverside has been kept transparent to maximise the view, the dyke side has a more modest, closed character to guarantee privacy. The house refers to the neighbouring houses in the original ribbon development in terms of form but has a contemporary character with minimal details and rich colours. The copper roof and bricks have been chosen in the same shade of redbrown colour to make the whole appear as one volume.  © Sebastian van Damme  Floor Plans  © Sebastian van Damme The interior was designed in cooperation with NEST architects. A wooden core organises the internal spaces and comprises the staircases, storerooms and other facilities. Consequently, the rest of the plan can freely be utilized. On the upper floor, all bedrooms overlook the IJssel, the support areas are arranged on the dyke side. In order to receive daylight on this side in the spaces on the upper floor, roof lights are introduced. The rest of the roof can, therefore, remain clear and empty.  © Sebastian van Damme Due to the orientation and placement of the façade openings, the building itself participates in the energy management: the open side is the north side where light enters but the sun doesn't. The more closed side is the south side and the heat build-up is limited here. Supplemented with extra insulated walls, a heat pump and solar panels, this makes for a very durable home.  © Sebastian van Damme  This posting includes an audio/video/photo media file: Download Now |
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