Arch Daily |
- Winners of the 2018 Building of the Year Awards
- London Business School, The Sammy Ofer Centre / Sheppard Robson
- House in Salento / Iosa Ghini Associati
- Théodore Gouvy Theatre / Dominique Coulon & associés
- Tara / Camposaz
- The Renovation of a Hutong House / Chaoffice
- Mindtree East Campus / CnT Architects
- Home Wonderland in Shanghai / Wutopia Lab
- Multi-Unit Housing in Urban Cities: From 1800 to Present Day
- Lighthouse / Room11 Architects
- Preview the The Shed’s Innovative Programming at Their Temporary Pavilion Designed by Kunlé Adeyemi
- Start / Diogo Aguiar Studio
- Frank Gehry to Design New London Headquarters for Facebook, Sources Say
- 3 Patios House / Lagula arquitectes
- The Rock Is Starring in a New Action Movie Called “Skyscraper,” and it Looks Crazy
- Building Amsterdam 75 / HERNANDEZDELAGARZA
- Asif Khan Unveils 'Darkest Building on Earth' For Winter Olympics Pavilion
- 3 Ways Multi-User VR Will Enhance the Design Work of the Future
- Sky House / Julia Jamrozik and Coryn Kempster
- An Architect’s Guide to New Orleans: 21 Unmissable Works of Architecture and Design
| Winners of the 2018 Building of the Year Awards Posted: 07 Feb 2018 03:00 PM PST  With nearly 100,000 votes cast during the last two weeks, we are happy to present the winners of the 2018 ArchDaily Building of the Year Awards. This peer-based, crowdsourced architecture award showcases projects chosen by ArchDaily readers who filtered thousands of projects down to the 15 best works featured on ArchDaily in 2017. As in previous years, the winners showcase a wide spectrum of different types of building, giving an insight into how diverse the profession has become in recent decades. High-profile practices take their place as ever, with winners such as Foster + Partners' Apple Store in Chicago and OMA's office building in the Hague showing that establishment firms are still able to make their mark, as in more traditional award systems. Alongside these are previously unsung heroes, such as Emergency Architecture & Human Rights with their series of classrooms for the children of the Za'atari refugee camp in Jordan—designers who have demonstrated their ability to make real, positive change where it is needed most. Finally, there are projects such as the Santa Fe de Bogotá Foundation by El Equipo de Mazzanti or Heatherwick Studio's Zeitz Museum of Contemporary Art Africa, which challenge the still-common belief that world-class examples of virtuoso architecture are concentrated only in historically privileged parts of the globe such as the US, Europe, and Japan. The winning buildings represent the values of our mission, bringing inspiration, knowledge, and tools to architects around the world. Neither ArchDaily nor the Building of the Year Awards would be possible without the continued generosity of the firms that choose to publish their projects with ArchDaily every year, or without the engaged readers who take part in the voting process. Congratulations to all the winners! Best Applied Products: CaixaForum Sevilla / Vázquez Consuegra © Jesus Granada Commercial Architecture: Apple Store Michigan Avenue, Chicago / Foster + Partners © Nigel Young Cultural Architecture: Zeitz Museum of Contemporary Art Africa / Heatherwick Studio © Iwan Baan Educational Architecture: Children Village / Rosenbaum + Aleph Zero © Leonardo Finotti Healthcare Architecture: Santa Fe de Bogotá Foundation / El Equipo de Mazzanti © Alejandro Arango Hospitality Architecture: KOI Cafe / Farming Architects © Nguyen Thai Thach Houses: Optical Glass House / Hiroshi Nakamura & NAP © Koji Fuji / Nacasa & Partners Inc Housing: Huangshan Mountain Village / MAD Architects © Fernando Guerra | FG+SG Industrial Architecture: Herdade Of Freixo Winery / Frederico Valsassina Arquitectos © Fernando Guerra | FG+SG Interior Architecture: Nike New York Headquarters / WSDIA | WeShouldDoItAll + STUDIOS Architecture © Floto+Warner Offices: RIJNSTRAAT 8 / Ellen van Loon / OMA Photograph by Delfino Sisto Legnani and Marco Cappelletti, © OMA Public Architecture: Zaryadye Park / Diller Scofidio + Renfro © Iwan Baan Religious Architecture: Waterside Buddist Shrine / ARCHSTUDIO Courtesy of ARCHSTUDIO Small Scale Architecture: 100 Classrooms for Refugee Children / Emergency Architecture & Human Rights © Martina Rubino Sports Architecture: Gymnasium of New Campus of Tianjin University / Atelier Li Xinggang © Haiting Sun This year ArchDaily partnered again with Saint Gobain to present the Building of the Year Awards.  This posting includes an audio/video/photo media file: Download Now |
| London Business School, The Sammy Ofer Centre / Sheppard Robson Posted: 07 Feb 2018 09:00 PM PST  © Fotohaus
 © Hufton + Crow Text description provided by the architects. The brief was to transform the iconic Old Marylebone Town Hall into a major new facility for the London Business School. The project includes the refurbishment of Old Marylebone Town Hall's Council House and Annexe buildings, using the excavated space between these to create a bold new glass and steel entrance and link structure.  © Hufton + Crow  Ground Floor Plan  © Hufton + Crow Architecturally, the building needed to broadcast the ambition of the client and have a strong urban presence along Marylebone Road. Whilst the majority of the building is dedicated to education – with the facility including six lecture theatres, 32 seminar spaces, a library, offices and a student lounge – the project also needed to accommodate civic and political uses.  Section C The glazed link structure creates a centrepiece for the design, forming a new distinct entrance to London Business School, giving sole use of the civic steps to the Council House to the Westminster Register Office.  © Fotohaus  Second Floor Plan  © Hufton + Crow A planning requirement stipulated that the view through the two buildings should remain as clear as possible, which led to the new structure being supported off the existing buildings. The resulting steelwork lattice responds to the structural misalignment of the existing construction. A simple diagrid was created, connecting each of the structural nodes at the centre of each pier, from which the layout of primary and secondary beams could be derived.  © Fotohaus  Section D  © Hufton + Crow The other major architectural addition is a new lecture theatre block to the rear of the building, which replaces a 1960s infill. Six lecture theatres have been added, with the largest two conjoining to create a space with the capacity of 200 people; this is used as the Council Chamber for Westminster's monthly meeting. Externally, the design of the lecture block is characterised by a daring limestone curtain which projects out into the mews.  © Hufton + Crow  This posting includes an audio/video/photo media file: Download Now |
| House in Salento / Iosa Ghini Associati Posted: 07 Feb 2018 07:00 PM PST  © Cosmo Laera
 © Cosmo Laera Text description provided by the architects. In Salento, near Salve and a few kilometres from the sea, in an ideal archetypal dimension, the dwelling designed by Massimo Iosa Ghini rises up. A place to getaway immersed in the countryside and in the midst of nature, with age-old olive trees and maritime pines, holds the secret of a fascinating and charming landscape.  © Cosmo Laera  Site Plan  © Cosmo Laera In a unique Mediterranean setting and in harmony with the surrounding seascape, Massimo Iosa Ghini has chosen to build a new house integrating it with the same Salento land, adopting techniques and materials suggested by local artisans and builders: the project uses the local Chianca stone for the outdoor paving, large panels of porcelain stoneware for the inside, Acquarica tuff for façade cladding, Lecce stone for the fireplace inside and even the use of dry-stone for the old pajara barrel roof. It has been used both passive control, (sunscreens, low-emission glass, green pergolas, use of natural shade from the trees) and active control techniques (photovoltaic panels in off-limits zones of the roof).  © Cosmo Laera Arranged on a single level and on a lot of more or less than one hectare, the project is designed on the image of the Salento Masseria and respects the existing vegetation that, in the outdoor living area near the main living room, is brought to light through a structure in acid-treated wood that works as a pergola and supports the branches. A large living area of six meters long facing south makes a whole with the dining-kitchen zone and becomes the family hangout; surrounded by four bedrooms with their own vestibules and baths. Large glasses which face the external area are designed as a natural continuation of the "protected" space, paved and designed as a place of relations with crafted sofas and armchairs, underline the constant relationship between outdoor and indoor spaces.  © Cosmo Laera Detached from the house, in an independent old rudere, a pajara transformed as a guesthouse equipped with an outdoor area for relaxing. The flat roof, with access from an external staircase and set aside as a solarium, leads to the panoramic viewing point to watch the countryside and the sea. Hammock for a nap, tailor-made chairs and crafted tables alternate at few Iosa Ghini design pieces carefully chosen to decorate interior spaces, creating an intending decorative essentiality, leaving daylight and the surrounding nature as the absolute protagonist of the domestic setting.  © Cosmo Laera  This posting includes an audio/video/photo media file: Download Now |
| Théodore Gouvy Theatre / Dominique Coulon & associés Posted: 07 Feb 2018 06:00 PM PST  © Eugeni Pons
 © Eugeni Pons Text description provided by the architects. Freyming-Merlebach is a town with a substantial industrial past, in a part of Lorraine that developed in the 19th century, driven by the coalmining industry.  © Eugeni Pons Since the closure of the mines in the 1990s, this part of north-eastern France has seen a sharp increase in unemployment, and culture is seen as one possibility for resolving the accompanying social and economic difficulties in the town, as has been the case in the neighbouring Ruhr region. The historic theatre in Freyming-Merlebach had deteriorated, and a number of cracks appeared as the result of disused underground tunnels. The old 500-seat auditorium needed to be replaced, and it had also become too small.  Ground Floor Plan  © Thibaut Muller  Diagram Stage The site decided on for the 'Théodore Gouvy' theatre is on the Place des Alliés, in Freyming-Merlebach. The municipal authorities were keen to give a new boost to this evolving sector, which is close to the town centre and next to the new town hall and a shopping centre. It is a prominent location, with sufficient parking capacity for the use of audiences. The theatre has become a symbol of the town's renewal, and its position is generating a new public space in the town centre. The theatre's programming is pluri-disciplinary, covering every area of live performance: classical theatre (including the use of large-scale sets), contemporary theatre, musical theatre and opera, dance, etc. The 'Théodore Gouvy' theatre offers local residents a 700-seat auditorium, with dedicated areas for performers and logistics.  © Eugeni Pons The theatre sets up an energetic dialogue with the heterogeneous urban landscape, shaping itself to fit the context and logic of the existing flows. It stands on a base, alongside the new municipal offices; its unusual shape and dimensions give it an steamlined silhouette, the lines of which ensure visual transition between the various parts of the programme while keeping on the same scale as the town. The visitor's interest is caught by the animation of the volumes: in the upper part, the foyer is offset to indicate the entrance, while in the lower part, transparent elements allow glimpses of the wealth of interior routes and invite the visitor to enter.  © David Romero-Uzeda  Section 05  © Eugeni Pons The foyer occupies a vertical space with a route through an apparent intertwining of staircases leading to the auditorium. Oblique lines reiterating the complex geometry of the site cause spaces to expand, creating a feeling of space.  © David Romero-Uzeda The uniformity of the untreated plaster and the softness of the carpeted floor contribute to the feeling of being in some kind of cocoon. Natural light enhances the various faces and reveals the building's shape and dimensions.  © David Romero-Uzeda The auditorium is in strong contrast with the nuanced surfaces of the outer envelope. The building presents the town with an immaculate white facade, while the foyer is in shades of beige. The 700-seat auditorium constitutes a complete break with the foyers. Red, pink and orange lend density to the space, affirming it as the main feature of the project, with colour sanctuarising the idea of performance.  © David Romero-Uzeda Visibility is optimised in the 700‑seat auditorium: the most distant spectator is only twenty metres from the front of the stage. The foyer and public areas are flooded with natural light, varying throughout the day with the course of the sun. This evolutive, dynamic spatial staging echoes the very image of the theatre.  © Eugeni Pons The 'Théodore Gouvy' theatre offers exceptional acoustic and stagecraft properties; the stage house is 24 metres high, with a grid at a height of 17 metres and an upper grid at a height of 19.50 metres, a catwalk, and two bridges. These technical fittings are arranged around a stage measuring 22 x 14 metres with a proscenium measuring 14 x 9 metres.  © Eugeni Pons  This posting includes an audio/video/photo media file: Download Now |
| Posted: 07 Feb 2018 04:00 PM PST  © Sebastian Apostol
 © Sebastian Apostol Text description provided by the architects. Tara explores the sensory perception of the environment and communicates with the symbolic and natural language of the elements. It is like a filter which frames light and reality and gives them form and space, in the pursuit of finding a balance between empty and full spaces, vibrant and harmonious compositions which reveal imperceptible fluxes between lightness and gravity, a balance which expresses itself through the wood, a natural, living material ready to accept a slow but inevitable biological erosion.  © Sebastian Apostol  Floor Plans  © Sebastian Apostol The structure is set on the border between a forest and an incredibly fascinating open space in the Southern Carpathian of the Tarcu Mountains, in Romania. The structure designed and built in ten days, with a team of 32 people coming from different foreign countries, represents both an experiment in the field of wood and the realization of a small infrastructure for a sensitive and caring form of tourism in terms of nature and environment. The initiative is supported by WWF Rumania and Camposaz, the latter being an Italian organization which promotes the collaboration among young architects and designers coming from all over the world to design and build structures which exploit the anthropized environment or, like in this case, a wild landscape.  © Sebastian Apostol A typical characteristic of the way Camposaz works is the human scale of designing and building of a full-scale model integrated into a specific environmental context. The human body and manual labour are thus to be considered as tools of expression and measurement. The whole process is organized and realized symbiotically and develops step by step. The aim of the initiative is to concentrate on one experience both the process of designing and the one of putting into practice the work itself, giving value to the whole creative process.  © Sebastian Apostol The workshop was possible thanks to the LIFE-Bison project and the European Union program LIFE, which allowed WWF Romania and Rewilding Europe to reintroduce the wild bison in these areas since 2013, after 200 years of extinction. Visitors and dwellers will be able to enjoy this naturalistic observatory, stop there and appreciate the view in their walks in this extraordinary and uncontaminated vastness.  South Elevation  East Elevation  This posting includes an audio/video/photo media file: Download Now |
| The Renovation of a Hutong House / Chaoffice Posted: 07 Feb 2018 01:50 PM PST  © Zhi Cheng, Wen Hou
 © Zhi Cheng, Wen Hou Text description provided by the architects. The urban condition of Ciqikou street west area, the site of this project, is semi-chaotic or could be described as a slum, which is a typical urban form in Hutong areas today in Beijing city. The local people have coined the term "messy yard".The spatial condition of the "messy yard" is completely different from its original form as a Siheyuan Yard. The way in which people have inhabited it has changed to a large degree over time.  © Zhi Cheng, Wen Hou From atypological view, the messy yards area is more like other slums which can be found everywhere in the world, such as St Paul, Delhi, or Istanbul. - Multiple land ownerships, illegally sold and bought property and occupation in history, disgracefully crowded and insanitary, lack of sunlight and fresh air.......  Explosion On the other hand, over time, the residents changed, people have come and gone, immigrants of the first generations grew into large families. Invisible contrasts made between neighbors help to share the space. It seems that, the spatial condition becomes solid and unshakeable. The whole urban area becomes a prison. Residents are virtually trapped within the spaces in which they live.  © Zhi Cheng, Wen Hou The urban reality may not change easily. The above description is the background of this project.The strategy is to maintain the original structure on its original boundaries, in order to keep the relationship between house and environment. Both windows and the door are modified in position and scale. A continuous canopy was installed.  Section Work within the boundary is about rearranging the spatial resources, in order to relink the prison like space back to the city and nature.For the multiple aims, the strategy is about two "boxes", "installations" or "chambers" in the original room. They are "room for table" and "room for privacy". We call them RT and RP.  © Zhi Cheng, Wen Hou The "RT" is a boundary within itself. The two sides are outside the public corridor and inside a private space. More generally, the "table room" changed the boundary from a wall into a volume.Outside the volume, for recreating of part of the roof, there are new possibilities for windows, 3 meters high, which one can open for sunlight; but without the need to sacrifice privacy.  © Zhi Cheng, Wen Hou The new structure is a construct inside the original wall, which has been strengthened. In addition, the reinforced concrete roof is stable enough for people's weight. Open views and plenty of sun light come together to create a pleasant space.  Plan Inside the "RT", double curtains function in several ways, controlling the light and privacy conditions. A rotatable window divides the "RT" into two independent rooms. A kitchen and a Studio. This plan meets the needs of the homeowner, as she loves to cook. When the window rotates, the table can be used on both sides. meaning the space on the table can be fully utilized and shared by both rooms.The window below the roof and above table also functioned as an access to the roof.  © Zhi Cheng, Wen Hou The other side of the house is the "RP", which is constructed by a light steel structure and plywood. This "chamber" is more like a Chinese traditional "Babu bed" which is both a bed as well as a bedroom. There are spaces for a bathroom, wardrobe, dressing room, etc. There is also a "roof space" on the top of the "bedroom" which provides a personal space for the homeowner, who can have a rest, read or meditate there.  © Zhi Cheng, Wen Hou Most storage spaces are hidden under the table or bed. Thus, the place between two rooms could be a totally empty space for uncertain functions. Like a party room, family room, or play room.  © Zhi Cheng, Wen Hou According to the plan, functions within the house have been compressed into two defined spaces, leaving the centre completely free from the chaos which defined the the house completely prior to the plan being enacted. This has thus provided a sense of dignity for those using the space, as well as a sense of comfort. The space can thus also been seen as a sequence, the home being subdivided into both spaces made up entirely of functional aspects as well as spaces defined by clarity. In addition, a small section near the entrance was repaved, creating a bridge between the home itself and its outer environment, as well as extending this sequence outward.  © Zhi Cheng, Wen Hou the strategy is experimental, the installation of two "boxes" cooperate with the original building, and at the same time keeping the relationship with its neighbors. It is my hope that this plan may be a way to stimulate further changes in the environment and urban fabric.  This posting includes an audio/video/photo media file: Download Now |
| Mindtree East Campus / CnT Architects Posted: 07 Feb 2018 12:00 PM PST  © Shamnath Patil
 © Shamnath Patil Text description provided by the architects. The project came into being through Mindtree's acquisition of another company who had started developing the site. One building was already constructed to an advanced stage, with its entry on the west side. The master plan called for a second detached building to the east of the first building, with its own west-side entrance.
This master plan was altered to offer a greater sense of unity to all the inhabitants of the campus. The first building was altered to be entered from the east, and an atrium inserted between the two buildings to serve as a common entrance. The atrium structure is built with steel and glass, and forms a shared social landscape that is a common magnet uniting the two buildings.  © Shamnath Patil Due to a high water-table caused by an adjacent lake, basement parking had to be restricted to a single level, and the new building rests on three levels of above-ground parking. The atrium contains a straight grand staircase, connecting all the parking levels and terminating at the lowest habitable floor of the new building. Staff can exit any parking level and move easily to office spaces, with the old building connected with steel bridges that span the atrium.  © Shamnath Patil Every office floor of the new building is ringed by double-height break-out spaces. These spaces serve as social magnets that build a sense of community in the workplace, provide relief to the pressures of work, and offer vantage points to enjoy the views, particularly of the adjacent lake and greenery.  © Shamnath Patil  5th Floor Plan  © Shamnath Patil The footprint of the office floors is smaller than the footprint of the parking floors, creating a terrace at the third-floor level. The CEO's office is located here, so that it opens onto a landscaped terrace that offers outdoor conference and dining with a view of the lake.  Detail  This posting includes an audio/video/photo media file: Download Now |
| Home Wonderland in Shanghai / Wutopia Lab Posted: 07 Feb 2018 11:00 AM PST  © CreatAR Images
 © CreatAR Images Text description provided by the architects. This is an episode from the Chinese home design and renovation program "Dream Reforms House," the designer decided to turn three bedrooms and two living rooms into one bedroom and one living room for parents and children to grow up together to create a shared and open house.
After the program was broadcasted, there was a huge response and discussion in China. It Forces us to reflect on the question about house type. House type is an invisible killer most worthy of condemnation in the mature process of urbanization in China. The three-bedroom and two-living room is the most common type, and it is also the ultimate home purchase goal that a stable nuclear family often pursues. Originally, our family life is colorful, but our real estate development model forces each colorful family to fix in a suite of three bedrooms and two living rooms.  © CreatAR Images In order to maximize the lighting area in this free house, we have replaced the window to a whole window without separation. The free flow of space formed by breaking down the separating walls, separated by middle island, sofa and children's house (the combination of bed and slide), naturally forms three social areas, each family member takes what he/she needs, while shares the same world. The two bathrooms are arc-shaped. The main bathroom uses arc capacitor glass, when opening, transparency becomes opaque, do not worry about disclosure of privacy, and outdoor light can still pour indoor. All the cabinets are arranged along the wall, and the doors are all frosted glass. The north balcony is built into a working balcony. Large area of lighting and the introduction of scenery, as well as the design of the table make the housework no longer a hard labor in the dark place.  © CreatAR Images  © CreatAR Images In addition to the bright orange color in the independent bathroom, all other colors, including wall painting are unified to pearl white. The furniture is light gray, and the ornaments of candy color act as visual embellishment.  © CreatAR Images Use simple materials such as glass, wood, tile, fabric, stone, greening and stainless steel to express the traits of the space. And considering the child's safety, all the corners of the wall are worn into rounded corners. By using a lot of intelligent appliances, all electrical appliances can be remote control, add a sense of the future for the house.  © CreatAR Images  © CreatAR Images The pentagonal (rectangle + triangle) extracted from the sloping roof architecture becomes the motif and the architecture symbolizing realism is repeatedly used in the dramatic surrealist space.  © CreatAR Images  © CreatAR Images The whole new house is a symbolic text which contains castle, forest, sky, curtain, distorting mirror or space capsule (arc stainless steel), jigsaw (tile pattern in bathroom), stage, tent and greening wall.  © CreatAR Images The Yu Ting couple's design opens up a new world in which we begin to wonder whether the life of each family is destined to fall into the shadow of mediocrity imposed by others.  © CreatAR Images  This posting includes an audio/video/photo media file: Download Now |
| Multi-Unit Housing in Urban Cities: From 1800 to Present Day Posted: 07 Feb 2018 10:00 AM PST  This book investigates the development of multi-unit housing typologies that were predominant in a particular city from the 1800s to present day. It emphasises the importance of understanding the direct connection between housing and dwelling in the context of a city, and the manner in which the city is an instructional indication of how a housing typology is embodied. The case studies presented offer an insight into why a certain housing type flourished in a specific city and the variety span across cities in the world where distinct housing types have prevailed. It also pursues how housing types developed, evolved, and helped define the city, looks into how dwellers inhabited their dwellings, and analyses how the housing typologies correlates in a contemporary context. The typologies studied are back-to-backs in Birmingham; tenements in London; Haussmann Apartment in Paris; tenements in New York; tong lau in Hong Kong; perimeter block, linear block, and block-edge in Berlin; perimeter block and solitaire in Amsterdam; space-enclosing structure in Beijing; micro house in Tokyo, and high-rise in Toronto.  Foreword by Han Ibelings Overview Birmingham London Paris New York Hong Kong  Berlin Amsterdam Beijing Toyko Toronto Image Credits 
 Multi-Unit Housing in Urban Cities: From 1800 to Present Day
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| Lighthouse / Room11 Architects Posted: 07 Feb 2018 09:00 AM PST  © Benjamin Hosking
 © Benjamin Hosking Text description provided by the architects. It has been previously noted that Hobart is a small city in a large landscape. The beauteous mountainous isle is justly renowned. But the southernmost capital city in Australia is beset by the perennial problem of an expanding edge. The Lighthouse is a carefully considered consolidation project which demonstrates the potential for bespoke building which offer an urban alternative to unchecked suburban haemorrhage.  © Benjamin Hosking Our client came to the office with a proposal to deliberately downsize. Selling a large family house to finance construction, they wanted a smaller home. A large lot owned by the family was identified as a suitable site. In an older area, with a convivial community and suitable services, the site was walkable. An existing house on the property was to remain. The site was indeed constrained, with reactive soils and surrounded by overlooking neighbours on all sides.  Floor Plan All these things led logically to the adoption of a courtyard. A perimeter strategy defines a rectangle within which the house is positioned. A generous courtyard to the north becomes an outdoor living room. The dwelling feels more generous than its modest size.  © Benjamin Hosking A simple kitchen sits on the short wall of the living room. Along the northern edge, wooden doors open, enabling the space as experienced to extend up and over courtyard walls to the forested ridge which rises beyond.  © Benjamin Hosking The home is passively heated and ventilated with openings and orientation sensibly deployed. A wood fire for winter warming and a ceremonial hearth. Bedrooms and bathroom are organised perpendicularly to the main space. Skylit and intensely private, these rooms are modest in scale and furnishings.  © Benjamin Hosking The Lighthouse has a subdued vocabulary of cement sheet, gravel and blockwork. Timber window reveals and wooden doors are meticulously detailed. Those parts of the house which are touched offer a rich haptic experience. The crunch of gravel and the texture and scent of timber enliven the formal simplicity of the architecture. A productive garden has been established between the existing house and the new dwelling. The scale and tactics of the building are polite and respectful to neighbours.  © Benjamin Hosking Our office is a short walk from the Lighthouse and we often see our client out walking in the late afternoon sun. With a smile on her face she tells us that her house makes her happy every day. This makes us extremely glad.  This posting includes an audio/video/photo media file: Download Now |
| Preview the The Shed’s Innovative Programming at Their Temporary Pavilion Designed by Kunlé Adeyemi Posted: 07 Feb 2018 08:00 AM PST .jpg?1518028079 "Rendering by NLÉ Works. Courtesy of The Shed") Rendering by NLÉ Works. Courtesy of The Shed New York's most highly anticipated cultural venue, The Shed, is giving visitors the chance to preview some of their innovative programming a year before its planned opening at a temporary pavilion designed by architect Kunlé Adeyemi of NLÉ and artist Tino Sehgal. To be located at the corner of Tenth Avenue and 30th Street in Manhattan – across the street from the rising Hudson Yards development and future home of the Shed – the pavilion has been designed to accommodate a variety of program types with its reconfigurable structure. Events will include concerts, dance battles, discussion panels and more. "One block away from our future home on the west side, we are temporarily transforming an empty lot into a flexible public space for new work, collaboration, and dialogue," said Alex Poots, Founding Artistic Director and CEO of The Shed. "Prelude begins to demonstrate our mission to nurture artistic invention by commissioning and presenting new work for a wide audience." Discussing his design process, Adeyemi described the pavilion as a flexible architecture achieved through the relationship between the structure and its users: "A Prelude to The Shed is an exploration of architecture as an extension of human body, culture, and environment. Can architecture be more human? This curiosity led us to reconfigure a steel shed into a comfortable interface to interact with people physically; inside and outside, in light and darkness, individually and collectively," said Adeyemi. "Using simple technologies, we made the structure so that it can be moved and transformed by people, enabling its participation in different formats of art, education, events, and public life." A Prelude to The Shed has been programmed by Alex Poots, Hans Ulrich Obrist, Tino Sehgal, Dorothea von Hantelmann, Julia Simpson, Tamara McCaw, and Kevin Slavin. "Like The Fun Palace, Prelude is a hybridization of exhibition and performance, functionally structured to encourage open engagement with audiences and fresh, collaborative approaches from artists," commented Obrist. "It is emblematic of our own era in that it lends itself to the choreography of 21st-century time-based exhibitions." Learn more about the event and sign up for advanced reservations, here.
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| Posted: 07 Feb 2018 07:00 AM PST  © Fernando Guerra | FG+SG
 © Fernando Guerra | FG+SG Text description provided by the architects. Start is an intervention that is both abstract and figurative, which favours the imagination of passers-by, in the context of the Christmas season. It is an ephemeral lighting installation that grows from references of Modern Art in public space and that is built on the scale of the city, provoking visual interaction with the surrounding historical buildings, providing new urban visual frames. At the same time, it assumes an ethereal and subtle presence on the square that, by evoking lightness and representativeness, intends to place the Largo dos Lóios in the traditional route of the Christmas illuminations in Porto.  © Fernando Guerra | FG+SG With a strong geometric base, the installation is constructed from the subdivision of an icosahedron, in twenty equal parts, assuming a modular principle ruled by standard metal profiles with six meters in length. The architectural detail, inspired by the cruciform pillar of the Mies Pavilion in Barcelona, fights the predictable deformation due to deflection and also seeks the dematerialization of the arms in intersecting edges and planes, contributing to the creation of a frozen fractal landscape.  Light Scheme  © Fernando Guerra | FG+SG  Detail In the daytime period, Start takes advantage of the moving pattern of the shadows projected by the twelve arms intersected by sunlight, while pointing its assumed red profiles in several directions. At night, Start presents an artificial, static and white lighting, which reinforces the intention to pause in time and space, allowing the re-evaluation of the urban scenery. Its arms are illuminated differently, pointing into distinct directions, thus producing diverse geometric designs of light as the passer-by moves in space.  © Fernando Guerra | FG+SG  This posting includes an audio/video/photo media file: Download Now |
| Frank Gehry to Design New London Headquarters for Facebook, Sources Say Posted: 07 Feb 2018 06:00 AM PST  © Flickr user <a href='http://https://www.flickr.com/photos/mattkieffer/8856379186'>mattkieffer</a>. Licensed under CC BY-SA 2.0<a href='http://'>undefined</a>© Flickr user mattkieffer. Licensed under CC BY-SA 2.0. ImageGranary Square in King's Cross Central Facebook is closing in on a deal to create a new London headquarters, and will be bringing along the design talents of Frank Gehry, according to reports from The Times and Architects' Journal. Described as a "growth space" that will allow the company to expand their European presence, the new headquarters would span four buildings in King's Cross Central – the same part of the city where Google is building its own 11-story "groundscraper" campus designed by BIG and Heatherwick Studios.  Google's new King's Cross campus, designed by BIG and Heatherwick Studios. Image Courtesy of Google For the design, Facebook is said to be tapping Gehry Partners to fit out two buildings designed by Bennetts Associates and scheduled to complete next year, as well as potentially design a new standalone building on an adjacent plot. This would not be the first collaboration between Facebook and Gehry, as the Los Angeles-based architect was also hired to complete the company's central headquarters in Menlo Park, California. If reports are accurate, the King's Cross campus would surpass that facility's current size by a significant margin, with 700,000 square feet of total floor space as opposed to the 430,000 square feet found at the Silicon Valley HQ. That campus, however, is also slated for a massive expansion, with plans announced last summer to expand the campus into a new mixed-use neighborhood master planned by OMA.  An aerial view of Bennetts Associates' plans for their King's Cross development. Image © Bennetts Associates According to the Times, the King's Cross development is scheduled to be completed between 2020 and 2024. News via The Times and Architects' Journal.
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| 3 Patios House / Lagula arquitectes Posted: 07 Feb 2018 05:00 AM PST  © Adrià Goula
 © Adrià Goula Text description provided by the architects. Classical palatial buildings and old industrial spaces, such as the medieval dockyards, both share (at least) three conditions. First of all, the space is continuous and flows from room to room. Secondly, the structural vanes are equivalent, regular and adaptable. And finally, the volume of the series of spaces is not only related to the room size, but also to the holistic interpretation of the building. Of course, other obvious features differentiate these two typologies.  © Adrià Goula This house ambiguously inherits these three conditions. Its structure is clearly organised in four long continuous vanes. The impair number of structural lines modernly flirts with the classical paradigm of the symmetrical and classic venetian palatial structures of three vanes and four column lines. Somehow, it occupies a space in between the classical structural rhythms and the serial workshop structures.  Ground floor plan + Longitudinal section Inside, the initially isotropic and aligned structure is organised by three courtyards. The resulting subspaces are occupied by the different common areas of the house: kitchen, dining and living rooms. Each courtyard is an external extension of the annexed living areas. The remaining fourth vane is reserved to the bedrooms wing.  © Adrià Goula  Longitudinal section  © Adrià Goula The materiality of the house is subordinated to the roof structure. A white painted concrete cantilevered surface gives character to the building. It is ramified in beams and vaults, and floats four meters above the ground floor plant. Beneath this element, a mat-building system connects to the ground, with local ceramic tiling and rendered walls. Timeless traditional materials are combined with modern glazed surfaces around the courtyards.  © Adrià Goula We could say this house is a sort of palatial workshop, something queer as a clockwork orange, indeed. However, it works.  © Adrià Goula  This posting includes an audio/video/photo media file: Download Now |
| The Rock Is Starring in a New Action Movie Called “Skyscraper,” and it Looks Crazy Posted: 07 Feb 2018 04:00 AM PST Fans of absurd architecture, over-the-top action, and wrestling-stars-turned-beloved-actors are in for a treat this summer thanks to the recently-announced film Skyscraper. The movie's central character is "The Pearl," an imagined 1,067-meter-tall skyscraper in Hong Kong—although apparently some guy named "Dwayne 'The Rock' Johnson" also plays a pretty big role with his character Will Sawyer, a former FBI Hostage Rescue operative who lost a leg in the line of duty and now reviews building security for a living. The plot, as revealed in the trailer and a single-paragraph synopsis on the official website, sees Will Sawyer criticizing the security of the "vertical city" billed as the tallest, most advanced, and safest building in the world. His concerns are immediately shown to be well-founded, as a group of (what are presumably) terrorists set fire to the 96th floor of the building, trapping Sawyer's family and somehow framing Sawyer for the whole thing. As a result, Sawyer must save his family while running from the law, with the trailer showing a climactic leap from an adjacent crane (we can only assume that Dwayne Johnson doesn't fit into a ventilation duct). The film has come in for some good-natured ribbing already, with internet jokesters questioning how a 260-pound amputee makes a 15-meter jump off the end of a crane. But of course, closer inspection reveals that these concerns are just the start of the entertaining wackiness of this movie.  via Screenshot from video To the eyes of an architect, the most obviously bizarre feature of the movie is The Pearl itself, a building that looks like the structures of Tomorrowland interpreted by Alien designer HR Giger. While most of the world's current tallest buildings are models of structural clarity, The Pearl squirms skyward, culminating in an awkwardly-perched sphere. At first we thought that perhaps the sphere might contain some sort of mass damper system, of the kind used on similar top-heavy skyscrapers such as the Shanghai Tower, but on closer inspection of an elevation shown in the trailer, we see it apparently hosts corporate offices and a restaurant. Let's hope diners can keep their food down with all that swaying.  via Screenshot from video That's not to say that no thought has gone into the design at all, though. Also shown on that elevation are not one, but two feng-shui-friendly holes in the building. Such gaps in the structure follow Hong Kong's unique design customs, suggesting that the designers did appreciate the context they were building in, even if they are also adding to their structural engineer's misery. To top it all off, it seems that while the base of the building does make contact with the southern tip of the Kowloon Peninsula (so long to the Hong Kong Cultural Centre, it seems) the main part of the structure is built over what is currently Hong Kong's Victoria Harbour—not the ideal foundation for what might already have been humanity's greatest feat of structural engineering.
Alongside the design of the building, there are plenty of other oddities that you might expect from this genre of film (yo Hollywood, for the last time, skyscraper windows don't shatter like that). But there's also an issue that architects may want to take more seriously. Because, while plenty of movies in the past, from Die Hard to Entrapment, have placed skyscrapers at the center of the action, few have made the skyscraper an unambiguous source of danger as this movie does. To quote the central character Will Sawyer's words in the trailer: "Not only have you brought them all indoors, but you've trapped them 240 floors in the air. Noone really knows what would happen if things go wrong." That's a great setup for a movie, but it betrays a certain Black Mirror-like fear of the future—a sense that even though we can create things that might once have been considered science fiction, we may not have thought things all the way through. In the real world, though, if a skyscraper of this size were to be built, there would be a whole team of people who know exactly what would happen if things went wrong—because architects, engineers, and the whole army of consultants and experts that they work with do not undertake kilometer-tall buildings without putting considerable thought into them.
Of course, the two-and-a-half-minute trailer doesn't reveal much about exactly how things go wrong in Skyscraper, so for now it's tough to say precisely what the writers haven't considered. Until this summer at least, all we can say is that we hope the film turns out to be exactly the kind of overblown, dramatic fun that it looks like in the trailer—and that if you're an architect, perhaps you should take a second to ensure your friends don't leave the theater honestly believing that tall buildings aren't safe.  This posting includes an audio/video/photo media file: Download Now |
| Building Amsterdam 75 / HERNANDEZDELAGARZA Posted: 07 Feb 2018 03:00 AM PST  Cortesía de Jorge Hernández de la Garza
 Cortesía de Jorge Hernández de la Garza Text description provided by the architects. Amsterdam 75 is located in the neighborhood Hipodromo of Mexico City in a rectangular area where the intervention consisted of solving 5 departments of different types and an additional dwelling which is inside an old house cataloged by the Institute National of Fine Arts.  Cortesía de Jorge Hernández de la Garza  Drawing The architectural program was solved in two large volumes in the form of boxes of apparent concrete which are oriented towards the tree-lined avenue and thus frame the best views towards the immediate context.  Cortesía de Jorge Hernández de la Garza  Sixth Floor Plan  Cortesía de Jorge Hernández de la Garza A penthhouse is in the last two levels and has a double height that articulates the public spaces of the house in its two levels.  Cortesía de Jorge Hernández de la Garza  Section  Cortesía de Jorge Hernández de la Garza In the back of the site the building is tucked in its west facade with terraces that generate solar protection and that take advantage of the views towards the park Spain.  Cortesía de Jorge Hernández de la Garza  This posting includes an audio/video/photo media file: Download Now |
| Asif Khan Unveils 'Darkest Building on Earth' For Winter Olympics Pavilion Posted: 07 Feb 2018 01:34 AM PST  © Luke Hayes Asif Khan's Vantablack pavilion, the world's first super-black building, will open at the PyeongChang 2018 Opening Ceremony on 9 February 2018. The Olympic pavilion is coated with Vantablack VBx2 carbon nanotubes and illuminated by thousands of tiny white light rods. These rods extend from the structure's parabolic super-black facade and create the illusion of a field of stars suspended in space. Looking at the building will be the closest experience to looking into space from a point on Earth. Vantablack VBx2 absorbs 99% of light, so it is hard for the human eye to make out any structures or shapes because nothing is reflected back to the viewer. In the absence of color, light and depth, a viewer's perception of space is transformed from every viewing angle. A 3D building can be rendered completely flat. A visual dissonance between what is in front of you and what is beyond creates a mistakable depth of infinite space - a dizzy between fore and back - that is altogether bewildering.  © Luke Hayes  © Luke Hayes "From a distance the structure has the appearance of a window looking into the depths of outer space," Asif Khan said in a statement, "As you approach it, this impression grows to fill your entire field of view. So on entering the building, it feels as though you are being absorbed into a cloud of blackness."  © Luke Hayes Inside the pavilion, visitors will encounter a vast 'water room' - a multi-sensory hydrophobic water installation that emits 25,000 singular water droplets every minute. Visitors can interact with the haptic sensors and create rhythms in these droplets as they collide, join and split across the water. These objects accumulate and amass into a 'lake' which drains and reappears in the space, shifting in and out of the viewer's visual spectrum.  © Luke Hayes According to Khan, "The water installation visitors discover inside is brightly lit in white. As your eyes adjust, you feel for a moment that the tiny water drops are at the scale of the stars. A water droplet is a size every visitor is familiar with. In the project I wanted to move from the scale of the cosmos to the scale of water droplets in a few steps. The droplets contain the same hydrogen from the beginning of the universe as the stars." VIsitors will encounter the building when entering the Olympic Park in South Korea. The pavilion is commissioned by Hyundai Motor as part of a series of projects on improving mobility in people's life. Another project in Hyundai's series is the world's first Hydrogen Fuel Cell vehicle. Both the vehicle and the Olympic building were derived from the same vision of a sustainable future. The black facade of Asif Khan's structure resembles the expanse of Universe and the interactive water droplets imitate individual Hydrogen molecules colliding together just as they would in Hyundai's new Hydrogen vehicle. Asif Khan has been working with the manufacturers behind Vantablack since 2013 and proposed to use the material for the UK Pavilion at the Milan Expo 2015. The London-based architect's other notable projects include Coca Cola's pavilion at the 2012 London Olympic Games and the MegaFaces pavilion at the 2014 Sochi Winter Olympics.  This posting includes an audio/video/photo media file: Download Now |
| 3 Ways Multi-User VR Will Enhance the Design Work of the Future Posted: 07 Feb 2018 01:30 AM PST  © <a href='https://unsplash.com/photos/mlZzMow-CQw'>Unsplash user Neonbrand</a> 2018 should prove to be a pivotal moment in how the design community uses virtual reality to deliver work. With leading firms exploring the introduction of mult capabilities, the technology will experience a breakthrough shift from purely enabling new modes of consumption to one that empowers design. Today, VR essentially allows designers, clients, and stakeholders to consume models in dynamic new virtual environments. One by one, individuals can put on VR goggles and experience spaces that only exist digitally as others watch, listen to their reactions, and wait their turn. This implementation of VR technology has already strengthened design outcomes by enhancing strong communication throughout the design process, translating to less risk and stronger confidence in the eventual built product for clients. Soon, however, with multi-user VR being rapidly developed, VR will do more than just ensure dynamic consumption. If successfully leveraged, multi-user VR will allow multiple people from around the world to all enter the same virtual spaces together at the same time. In these multi-user environments, users will not be limited to just viewing models and asking questions. They won't have to take off the goggles, remember their thoughts, and then go sketch new ideas elsewhere. Instead, multi-user VR environments enable true collaborative design; people can discuss, draw, scale, break sections apart and advance the design project in real time. This should allow enhanced communication and increased time for design exploration, ultimately leading to more successful built products. While this shift in VR technology may still sound elemental—multiple people in a VR model at the same time as opposed to one—consider the following changes it will enable for designers, firms, clients and others. Multi-User VR Truly Creates Firms Without WallsIn architecture design firms, talented staff are what differentiate one firm from another. Recognizing this, design firms have increasingly marketed the accessibility of their best talent as a key value proposition for clients. The ability to assemble design teams composed of the best talent from around the world is critical to ensuring clients' goals are achieved. While technology to date has limited the need for people to be together for every meeting and conference call, a significant amount of design work still essentially needs to happen in person. This means flights, costs and lost time week-to-week for design firms. However, multi-user VR will allow design teams to assemble from around the globe at a moment's notice to tackle a problem and move forward. If a designer in Boston needs the opinion of a designer in Shanghai, multi-user VR can enable them to connect for an hour without a single cab or flight. If a design team would like to pick the brain of an expert on the other side of the country not directly connected to the project team, they can do so quickly and efficiently. This makes talent constantly accessible, ensures the best ideas are consistently elevated, and can reduce internal costs for design firms. Essentially, the geographic barriers that sometimes delay design work can be erased. By eliminating these barriers, design firms will also inherently be able to deliver enhanced solutions for the clients. This should translate to even higher quality work, satisfied clients and longstanding client relationships that endure. Multi-User VR Will Allow Designers to Explore, Test, and ExperimentWhile multi-user VR will make design work better for everyone, it may spark the most creative potential for designers. The technology will allow designers to test radical ideas and concepts quickly, discarding those that don't work and building upon those that show promise. The tool will create increased time for exploration and experimentation in the design process, something every designer craves. Multi-user VR will also enhance the virtual artifacts designers can pull from these digital environments. Today, after putting on VR goggles, designers leave with their notes, ideas and a vision in their head. In multi-user VR environments, designers will literally be able to pull up virtual whiteboards, draw in 3 dimensions, take photos, videos and then leverage all of that to enhance the model. This will ensure every idea expressed while in the model is captured and decrease the time between ideation and implementation significantly for design teams. Multi-User VR Connects Clients to the Design Process in Exciting New WaysVR has already proved a powerful new client engagement tool for designers. While floor plans and elevations are easily understandable for architects, clients not trained in our profession often experience a communication gap. Even under the consumption model, VR allows to clients to see and experience their future environments in a way our 2D paper files simply can't empower. The introduction of multi-user VR will only enhance this connectivity between the client and their project. If they desire, they'll be able to virtually step into models with the design team and hear their ideas and strategies as they develop. Even if they lack VR goggles or aren't in the same location, clients can watch and communicate with the design team in the multi-user VR space on their laptops or mobile devices as their project develops. Multi-user VR models will allow designers to quickly scenario-test for clients and reveal how changes would affect the project at large. By empowering this new level of collaboration between client organization and design team, multi-user VR will only build on the technology's ability to enhance communication, reduce risk, shorten project timelines and deliver a stronger built product each time. At its core, multi-user VR will empower stronger design outcomes for everyone invested in a project. The technology will impact designers, firms, and clients in different ways, but essentially forge exciting new connectivity for everyone. By spurring stronger communication, increased collaboration and new levels of design exploration, multi-user VR will lead to an enriched built and virtual environment for the future. Jimmy Rotella is CannonDesign's Digital Practice Director, focused on helping designers and clients leverage cutting-edge technology to create the most valuable built projects every time.  This posting includes an audio/video/photo media file: Download Now |
| Sky House / Julia Jamrozik and Coryn Kempster Posted: 07 Feb 2018 01:00 AM PST  © Doublespace Photography
 © Doublespace Photography Text description provided by the architects. Negotiating the steep topography of a lake-side site, this holiday house consists of two volumes stacked on one another. The lower volume nestles into the landscape so that it is barely visible as one first approaches the house. The upper volume rests on the lower one and on a concrete pier to form both a bridge and a cantilever. This massing strategy allows for increased access and permeability of the site and emphasizes the charged relationship between the building and the ground.  © Doublespace Photography  Upper Volumen plan  © Doublespace Photography The upper volume contains living spaces and opens up towards the lake while the lower volume is more enclosed and houses bedrooms. Responding to the need for accessibility for guests with disabilities, as well as thinking of the clients' ability to use the building far into the future, a study/bedroom and accessible bathroom are provided on the main level. The roof of the lower bar becomes a terrace allowing elevated views and a direct connection to the living spaces.  © Doublespace Photography  Perspective section  © Doublespace Photography The factory-inspired skylights are rotated to admit north light without heat gain while orienting the solar panels due south so the house can generate all of its own power. The combination of vertical skylights and a fully glazed south-facing facade result in a generously daylit interior. A covered walkway shades the main wall of glass from summer sun while admitting lower winter sun to passively heat the dark-dyed concrete floor.  Diagram 01 Simple, low-maintenance, long-life materials are used on the facade, including a reflective standing seam metal roof and a lapped heat-treated (petrified) wood cladding, while the interior is lined with formaldehyde-free plywood. Playful elements are placed throughout from a glazed brick socle for the wood stove, to scattered colourful coat-hooks and a custom undercroft swing-bench.  © Doublespace Photography  This posting includes an audio/video/photo media file: Download Now |
| An Architect’s Guide to New Orleans: 21 Unmissable Works of Architecture and Design Posted: 07 Feb 2018 12:00 AM PST .jpg?1511987068 "Courtesy of New Orleans Convention & Visitors Bureau") Courtesy of New Orleans Convention & Visitors Bureau New Orleans is an architectural paradise. From Baroque to Modern, the buildings of New Orleans tell the story of a peculiar American city heavily influenced by its French, Spanish and Caribbean roots. Its diverse historical influences have impacted the urban fabric as much as the culture itself. A hub for celebratory gatherings such as bachelor and bachelorette parties, weddings, music festivals and Mardi Gras, Louisiana's largest and oldest city has long claimed tourism as a significant part of its vibrant economy. The resilient city has a reputation for its food, music and focus on fun, but the infamous Katrina transformed New Orleans into an architectural conundrum: a problem to be solved and a chance for architects (from around the world) to contemplate the future of one of the United State's biggest ports. The myriad issues of post-storm New Orleans attracted the attention of architects and educators from local institutions and universities located thousands of miles away. It was embraced as a real-world issue that required the expertise of architects and urban planners. Many proposed "fixes," "designs," "urban plans," and ideas for the city remained on paper. (Perhaps for the best, if you ask New Orleanians). Other design initiatives have been instrumental in creating the New Orleans of today: a city with its past always in the immediate background, but its future ambitiously ahead. A visit to the Crescent City, a nickname derived from its nestled location in the bend (crescent) of America's Mighty Mississippi, is a rich opportunity to explore architectural history. But touring New Orleans with an eye for contemporary design is also a pleasant surprise. This is an architect's guide to New Orleans, written by an architecture lover and New Orleanian--I called New Orleans home from the ripe age of 8 weeks old and lived there until I finished high school almost 15 years ago. I recently spent a whirlwind 3 days meeting with local architects and visiting the city's latest projects in order to craft a guide for those who dare to venture off of the bar-and-club-lined-Bourbon Street and into the rest of what the city has to offer. The buildings and public spaces mentioned here only scratch the surface of what can be appreciated. The Basics: .jpg?1511987027 "Courtesy of New Orleans Convention & Visitors Bureau") Courtesy of New Orleans Convention & Visitors Bureau Before you embark on your architecture tour, you should know some basic things about the "Big Easy" (no one actually calls it that but you'll probably see some mention of it on some signs or menu items). First indispensable fact about New Orleans? It's hot and humid. Unless you're visiting during one of the few cool-ish days experienced in the city, make sure you dress in layers. You'll sweat outside and then you'll be blasted by air conditioning while inside. The locals live with it; out of towners, especially those who are not used to highly air-conditioned environments will be chilly when indoors.  Courtesy of New Orleans Convention & Visitors Bureau Second indispensable fact about New Orleans? There's more to see than the French Quarter, and it's easy to get around the other parts of the city! New Orleans has always had streetcars (you may know them as trams or trolleys), and the network has recently been expanded and restored. You can buy a "Jazzy Pass" and take the streetcar down the mansion-lined St. Charles Avenue. What to Do:New Orleans Architecture Tour Courtesy of New Orleans Convention & Visitors Bureau You might as well start where the city itself got its start. This architecture tour is jam-packed with historical and architectural notes that will set the pace for the rest of your visit. This is an activity particularly suited to the beginning of your time in New Orleans since what you learn on the tour will inform how you see the rest of the city. On this tour you'll see these unmissable New Orleans architectural landmarks: St. Louis Cathedral, The Cabildo, The Presbytere, The Pontalba Apartments, The Ursuline Convent, and the Court House. Walking tours of the Garden District and Irish Channel are also available. Contact: https://nolatours.com/ The National WWII Museum Courtesy of The National WWII Museum Did you know that the #2 user-rated museum in the world is in New Orleans? And did you know its subject is the second World War? Or did you know that the architects who won the competition build it were awarded the commission because of the brilliant, multi-building phasing scheme they devised? Plan to spend a half a day to enjoy the exceptionally-detailed exhibits and make sure to save some time for the film. Don't miss the US Freedom Pavilion: Boeing Center, an impressive structure that carries the weight of the X real airplanes that hang from the ceiling. A sweeping canopy is set to open in spring of 2018. Contact: https://www.nationalww2museum.org/visit Historic New Orleans CollectionThis collection will see it's new home, designed by Waggoner and Ball, open in the fall of 2018. The design includes a restoration of 200-year-old Spanish Colonial structure, the Seignouret-Brulatour House, with an addition to provide gallery space. With a careful eye towards renovation and education, the team used conservators and archaeologists to simultaneously preserve and exhibit the treasured French Quarter building. Waggoner and Ball's design sets an enviable standard for a task that many historical cities must face: how should we design around our cultural heritage and make it functional for present needs? Location: 520 Royal Street Contact: https://www.hnoc.org/exhibitions/seignouret-brulatour-house-new-chapter Where to Eat:Eating is a huge part of New Orleans' culture. And since you have to refuel, you might as well get some architecture with your gumbo. BREAKFAST Willa Jean © Gabrielle Geiselman Start your day at Willa Jean, a sleek and bright bakery cafe in the heart of some of the city's latest developments. While you're there you will appreciate the new construction that is transforming this district of New Orleans. A Morris Adjmi luxury apartment building is coming up down the street and the restaurant itself sits on the bottom floor of a new residential project. Location: 611 O'Keefe Ave Contact: http://www.willajean.com/ BRUNCH Commander's Palace Courtesy of New Orleans Convention & Visitors Bureau If you're off to a slower start or you're in New Orleans for the weekend, Brunch at Commander's Palace is unmissable. Located in the Garden District among the houses and mansions of the first Americans who settled the city in the early 19th century, the upper floors of the restaurant offers some clues to its life before it was a world-famous, James Beard award-winning eatery. (Reservations highly recommended!) Location: 1403 Washington Ave Contact: https://www.commanderspalace.com/ LUNCH or DINNER St. Roch Market © Gabrielle Geiselman This food hall brings together a medley of culinary experiences in a restored structure originally built in 1875. The light-filled interior space provides the perfect foil for the street-food-esque dining concept. You may want to visit twice if you want to try all of what the vendors are selling. Location: 2381 St Claude Ave Contact: http://www.strochmarket.com/ Where to Stay:The Ace Hotel © Tim Hursley The Ace Hotel brand has been making a name for itself in major cities around the world. Architects and designers will love the Ace's attention to detail and exceptional styling. A project by New Orleans' most well known contemporary architects, Eskew+Dumez+Ripple, the main entrance and lobby of the Ace sit in a former multi-storey furniture store. The architects have masterfully connected a number of new and old buildings to construct a high-end hotel, conference center, and restaurants. Don't miss the seafood eatery that has been built into an (old house) and make sure you take a moment to appreciate the rooftop pool. If you don't plan on staying at the Ace, drop into the lobby for a drink, or pick up a hot cup of Stumptown. Location: 600 Carondelet Street Contact: http://www.acehotel.com/neworleans The Catahoula Hotel Courtesy of the Catahoula Hotel The Catahoula Hotel, a project by two former Tulane University students, is a funky fusion of a small, classic hotel/boarding house with a hip minimalistic vibe. Billed as a "hideaway in the heart of the city," this 35-room boutique hotel is walking distance from both the French Quarter and the Central Business District. "This historic property was once a home and that is what drives our ethos," explain the proprietors. With a coffee shop, Pisco bar and rooftop terrace, this little hotel packs a lot of the essence of "New" New Orleans into a nice, historic-yet-updated package. Location: 914 Union Street Contact: http://www.catahoulahotel.com/ Where to Play:Crescent Park © Tim Hursley In a bold move to reclaim New Orleans' Riverfront, the development plan for this park began in 2007 as a public space project for both locals and tourists. Now anyone can enjoy a view of the city skyline that was previously reserved for those that worked on the river or in the wharves. The award-winning park can be accessed via elevator or by walking across one of several bridges that step over the city's flood protection and rail tracks and connect the riverfront with the adjacent neighborhoods. Architect: Eskew+Dumez+Ripple, Hargreaves Associates, Michael Maltzan Associates, Adjaye/Associates The Sydney and Walda Besthoff Sculpture Garden © Richard Sexton Located directly adjacent to the New Orleans Museum of Art, the five-acre park provides a delightful instance for exploring the picturesque landscape of live oaks, Spanish moss, and lagoons. The 64 sculptures are, of course, another strong reason to venture to the garden. Location: 1 Collins Diboll Cir Other Landmarks:New Orleans Public Library Progressive Architecture Award in 1957. Designed by local legends Curtis & Davis, the library's use of screen-shading shows how a modernist design should handle the peculiarities of New Orleans' climate. Location: 219 Loyola Ave One-Shell Square One Shell Square Louisiana's tallest building can be found in the Central Business District. The sleek lines of the international style are unmistakable in the SOM-designed skyscraper. Location: 701 Poydras Street Piazza d'Italia.jpg?1517857767 "via www.neworleansonline.com") via www.neworleansonline.com This post-modern gem saw a full restoration in 2004 but has continually struggled to be the vibrant public space it was designed to be in 1978. The Piazza's loud colors, mixture of historical references and intentional contextual disagreement embody its designer's career-long pursuit of innovation in post-modernism. The Piazza d'Italia is currently closed for renovations with an anticipated reopening in February 2018. Location: 377 Poydras St. Plaza Tower"What is that?" The city's third tallest building, an eclectic tower built in the 60s--at a noticeable distance from the eventual location of New Orleans' other highrises--has been vacant for almost 15 years. No one seems to know how to breathe life back into this problematic building. Location: 1001 Howard Avenue The Super Dome Superdome used under CC BY SA 3.0 Considered among the loudest stadiums in the NFL, the Superdome is also the largest fixed-dome and clear-span structure in the world. The impressive, expansive space is a true feat of engineering. Location: 1500 Poydras Street Orpheum Theater © Will Crocker The acoustically-pure Beaux-Arts theater has been fully restored following damage from Hurricane Katrina. Location: 129 Roosevelt Way Notable New Orleans Architecture Firms:Read more:  Courtesy of New Orleans Convention & Visitors Bureau About the author: Becky Quintal is a Mexican-American editor currently serving as the Head of Content for ArchDaily. She was raised in New Orleans and left in 2003 when she finished high school. She currently resides in Santiago, Chile.  This posting includes an audio/video/photo media file: Download Now |
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