Arch Daily |
- Crematory in Basel / Architekturbüro Garrigues Maurer
- Klostergarden Boathouse / Trodahl Arkitekter
- Park Residential / Behzad Atabaki Studio
- Bean to Bar Chocolatier / Studio Toggle
- House K / Shinta Hamada Architects
- Lijiang Back and Forward Boutique Hotel / NTYPE
- Terrace SC / TAAB
- Boarding House for an Agricultural School / Technical University of Berlin / CODE Chair Construction + Design - Ralf Pasel
- MVRDV Reveals Design For Dawn Bridge, A 80m-Long Dual Use Crossing in Shanghai
- House in Itatiba / Rassini Arquitetura
- 1 in 7 Women in Architecture Have Experienced Sexual Harassment in Past 12 Months, Reports AJ
- Go Juu Restaurant / PROMONTORIO
- How Boomers and Millennials Can Work Together (And Love It)
- Herdla Birdwatching Tower / LJB AS
- Mexican Architect Frida Escobedo Selected to Design 2018 Serpentine Pavilion
- These Office Interiors are Inspired by Well-Known Fonts
- Cables Fail on Bridge in Dallas After City Officials Ignored Santiago Calatrava's Requests for Proper Testing
| Crematory in Basel / Architekturbüro Garrigues Maurer Posted: 08 Feb 2018 07:00 PM PST  © Rasmus Norlander, Ariel Huber
 © Rasmus Norlander, Ariel Huber Text description provided by the architects. Located not far from the centre of Basel, directly at the border to Germany, close to the Rhine lies Switzerland's biggest cemetery. The so-called Hörnli is a place of mourning and devotion, which at the same time is a sensitive and precisely cultivated garden. It is placed on the border in an ambiguous sense. Likewise, it is a multicultural place that reflects our being together before and after death.  Ground Floor Plan The cemetery was finished in the 30s and its existing layout and buildings are shaped by a straight classical geometrical order embedded in nature. This urban layout gives consolation in form of rationality and clarity. The new crematory, finished mid-2017 subordinates itself to these found patterns. It forms a background for both the landscape and the act of saying farewell. It creates a solemn experience, ecumenical and easily accessible to all.  © Rasmus Norlander, Ariel Huber Following the main alley, the building appears as an independent volume in line with the existing mortuary building. A new entrance-court forms a mediating space between the existing and new structures. From there you enter an enclosed courtyard providing an intimate, semi-public space only available to the respective mourners allowing a slow approach to the final act. This sequence of spaces ending in the cremation room is followed by a volumetric development in height. The building rises step by step from the lowest level of the entrance to its highest part, the free-standing chimney. These movements guide the families by creating a succession of spaces that ends and starts with the buildings one big open window opening towards the sky.  © Rasmus Norlander, Ariel Huber  Longitudinal Section  © Rasmus Norlander, Ariel Huber Furthermore, the new crematory is characterized by the picture of simultaneity. The industrial process of incineration and the emotional exception of mourning. The translation is a building with a concrete structure and a brick skin. Concrete is a rough, industrial product, the brick is a hand-made and hand-laid material. The latter stretches around the building and opens to light and air, defining a porous border that is open and closed at the same time.  © Rasmus Norlander, Ariel Huber  This posting includes an audio/video/photo media file: Download Now |
| Klostergarden Boathouse / Trodahl Arkitekter Posted: 08 Feb 2018 06:00 PM PST  © Trodahl Arkitekter / Fredrik Ringe
 © Trodahl Arkitekter / Fredrik Ringe Text description provided by the architects. The boathouse, built in 1860, sits in a magnificent historical setting, close to Norway's best-preserved Monastery, Utstein Kloster, and the Klostergarden, a beautifully tended modern farm estate. The boathouse features traditional Norwegian arch-braced roof trusses, which share many details with the English Cruck design. As a protected building within a heritage site, the boathouse exterior has been preserved as authentically as possible. Inside, the Owner's desire to repurpose the building, creating a Farm Shop for the modern and dynamic estate, has driven the internal design.  © Trodahl Arkitekter / Fredrik Ringe The challenge of the project was to deliver the desired new purpose with modern heating and comfort, while retaining the authentic ambience of the uninsulated and thinly clad original. As a result robust materials were chosen, which are also capable of surviving the occasional spring tides that inundate the structure.  © Trodahl Arkitekter / Fredrik Ringe The use of reinforced, laminated glazing as the internal climate divider allows the original ambience to be retained. The old stone wall is a stand-out feature of the interior. Selected glazing panes are fitted with heartwood bungs to allow access for cleaning. The roof has been insulated using fibreboard, whilst retaining the original appearance both inside and out. The trusses feature new timber from the local sawmill, but recycle the old timbers where possible.  © Trodahl Arkitekter / Fredrik Ringe  Plan  © Trodahl Arkitekter / Fredrik Ringe The floor of steel-polished concrete contains water-borne heating pipes and serves as a massive heat reservoir for the boathouse. The underfloor heating ensures cozy surroundings for a wide range of activities, while also surviving high water events. The seaward entrance and dock are separated from the living area by a transparent glass wall. The splendid pine heartwood used for the doors and throughout the build is sourced locally, from Riska Sawmill.  © Trodahl Arkitekter / Fredrik Ringe  This posting includes an audio/video/photo media file: Download Now |
| Park Residential / Behzad Atabaki Studio Posted: 08 Feb 2018 04:00 PM PST  © Parham Taghioff
 © Parham Taghioff Text description provided by the architects. Our conceptual image of a home is a haven far from the madding urban crowd, away from noise, visual pollution, and a place of retreat from everyday worries where we can rest and rewind. However, what comes first to the mind when thinking of the inner space of "home", is the notion of "protection"- against all above. Standing for such a sense of security would be the "curtain" hanging and dancing, "symbolizing" a home behind. Creating a shared ground between architecture and the city, in this building as a group of "homes", the curtains swinging with the breeze, which would call up the image of a warm hearth and home, acting both as a representation of a house guard without and the warmth within, have been used as the façade so as to recall the moment when they, swinging in the breeze along the soft rows of "bricks", have just stepped aside to let the light into the pleasant space of the house they encurtain.  © Parham Taghioff Facade Installation For the brick surface to be easily observable, it was decided that the brightest-colored bricks be used; moreover, brick-covered cubes are installed over darker and rough surfaces of stone-covered background.  Elevation Diagram  © Parham Taghioff  Wall Section To achieve the curve of the bricks over the cubes with ultimate precision, 227 horizontal sections (each 20 centimeters in height) were provided in the real size; they were cut in reverse on plasterboards for a better control and also to facilitate the brick rows implementation. In the end, to allow the façade stay clean, a water-repellent cover was applied over all the stone and brick surfaces.  © Parham Taghioff  This posting includes an audio/video/photo media file: Download Now |
| Bean to Bar Chocolatier / Studio Toggle Posted: 08 Feb 2018 02:00 PM PST  © Gijo Paul George
 © Gijo Paul George Text description provided by the architects. Studio Toggle was commissioned by the young Kuwaiti chocolatier, Bean2Bar to design their debut boutique in Arjan Square, a trendy F&B concept in Salmiya, Kuwait. The 33m2 space with a narrow frontage posed a significant challenge for the architects who desired to create a bright and airy atmosphere with plenty of storage space and flexibility. The architects devised a simple solution that featured a slender, cellular waffle vault along with the longitudinal axis of the store that morphed into a sleek secondary enclosure.  Floor Plan Details This eliminated the need for a conventional ceiling and created an illusion of a greater expanse. The dimensions of the cells of the vault were based on the modular packaging unit used by the chocolatier and this led to new synergies like re-imagining the vault with its cellular modularity as an analogue screen with the cells doubling up as pixels. Messages or patterns could be displayed on it as required by using a combination of empty cells or by changing the colours of the packaging unit. This opens up possibilities for the store to change its ambience in a very easy and intuitive way to suit various occasions.  © Gijo Paul George The vault was parametrically generated and optimized for digital fabrication as a slot-in waffle system. This enhanced the ease of construction; cut down material wastage and resulted in a very precise self-supported steel structure. The symmetry of the vault is broken and emphasized at the same time by employing an algorithmically generated steel chandelier, which almost has a parasitic relationship with the vault. By juxtaposing these strongly opposing elements, the architects created a refined industrial look for the boutique while maximizing the efficiency and the lightness of the space.  Arch Details Vein-cut silver travertine was chosen as flooring and also to clad the built-in refrigerated counters. This added a warm undertone and balanced the overall ambience. Bean2Bar was a successful implementation of generative processes not just as a design tool but also to aid in the digital fabrication and optimization workflow, which was essential to the completion of this boutique.  © Gijo Paul George  This posting includes an audio/video/photo media file: Download Now |
| House K / Shinta Hamada Architects Posted: 08 Feb 2018 12:00 PM PST .jpg?1518091274 "© Kenichi Suzuki") © Kenichi Suzuki
.jpg?1518091517 "© Kenichi Suzuki") © Kenichi Suzuki Text description provided by the architects. House K is sited in the suburbs of Maebashi city in Japan. There are many similar houses around the site and creating boring landscape. We tried to make small changes to landscape as same as designing inside spaces by making a new context in limited site area. .jpg?1518092049 "© Kenichi Suzuki") © Kenichi Suzuki First, we classified many rooms into "common spaces" and "private spaces". Then we put "private spaces" on north side of volume and "common spaces" on south side where the surrounding is open. In addition, to connect two different spaces, we arranged "free spaces" in between.  3D image In "private spaces", we put grandmother's spaces on the first floor and a young family's space on the second floor. While keep privacy among families, everyone can also feel each other through "free spaces". .jpg?1518092016 "© Kenichi Suzuki") © Kenichi Suzuki On the other hand, because there are some voids around the south of house, we designed "common spaces" as very open space to connect outside by making big atrium.  Section Furthermore, consider the place of near houses and gardens, we bend south half of the building to reduce the cross of sight line and create triangular gardens around. Triangular gardens can make more depth than rectangular one in this case. And it is possible to create the spread of spaces and make site boundary more ambiguous. .jpg?1518092210 "© Kenichi Suzuki") © Kenichi Suzuki "Free spaces" can be used in various ways such as workplace and gallery , support both "common" and "private" spaces. This flexible space can make inhabitants life better. .jpg?1518092119 "© Kenichi Suzuki") © Kenichi Suzuki In this residential area without big features, we hope new landscape made by this architecture will become new context. .jpg?1518091285 "© Kenichi Suzuki") © Kenichi Suzuki  This posting includes an audio/video/photo media file: Download Now |
| Lijiang Back and Forward Boutique Hotel / NTYPE Posted: 08 Feb 2018 11:00 AM PST  Central Yard Night View. Image © Joao Lemos
 Lobby. Image © Joao Lemos Text description provided by the architects. The hotel is located in Lijiang ancient town, Yunnan province China. The building is under protection of Lijiang heritage due to its old and particular wood structure, but for a few times along the history the building had been renovated with interventions transforming its original layout and configurations.  GF Plan One of the main aims of the design is to bring back as much as possible the original layout, which initially was organized by a central yard with four others, making it a typical 5 courtyard house, however due to the previous renovation and alterations it was reduced to only 2 yards.  Lobby. Image © Joao Lemos All the original wood structures got kept as well as the only original façade screen doors in the lobby and in the restaurant. Other façades are required to be wood screens too so a new design of wood screens is created with opening geometry resembling the traditional, and especially the most valuable - the so called multilayer screen, with its superimposed layers of wood creating a three dimensional sense. In the new design although the screens are single layer sliding doors, once being open or close they create a modern and dynamic version of the traditional multilayer screens, also casting elegant sun light and shadows into the rooms, and the inverse effect during the night from the interior light.  Room with Skylight. Image © Joao Lemos  2F Plan  Restaurant Night View. Image © Joao Lemos The façade is with dark color to be as similar as possible to the ancient houses in Lijiang, while the interior wood is in natural color to give the users a warm feeling. Besides wood, other natural materials such as marble and mud are used in the interior, and some of the rooms have wood frame patterns to echo the façade design.  Facade Screen Casting Light and Shadow. Image © Joao Lemos The other challenge for design was to achieve a balance among the quantity of the required rooms, the comfort of a modern boutique hotel, the fixed ancient wood structures and space. The design result is that the layout of all 11 rooms is all different, making each one of them a unique experience, some having bathtubs with special views, others with outdoor seats under traditional roofs facing waterscape, some can be open towards its own private yard with protected old bamboo…  Central Yard Nigh View. Image © Joao Lemos Regarding the design of the public areas, as most of the rooms are located in the front part of the hotel, a central circulation surrounded by water scape is created to release the corridor space under the roofs to be outdoor sitting areas of each room – a transition between interior and exterior, in the meantime more privacy is provided for the rooms. A local light color monochromatic stone is used on the exterior floor, reminding people of the snow mountains nearby, together with the water helping to bring the sun light into the ground floor rooms.  Back Side of the Hotel. Image © Joao Lemos In the back side of the hotel, there are a few protected trees which are all kept, the new plants and landscape design is integrated to emphasize the protected trees.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 08 Feb 2018 09:00 AM PST .jpg?1517903856 "© César Béjar") © César Béjar
.jpg?1517902445 "Courtesy of TAAB") Courtesy of TAAB Text description provided by the architects. Converting 84 m2 of grass area into a landscape project was the premise of this commission. .jpg?1517903840 "© César Béjar") © César Béjar  Floor Plan .jpg?1517902498 "Courtesy of TAAB") Courtesy of TAAB The exterior transformation of the project meant that the interior areas of the house, which had previously been unattached to the garden, now not only turned to see it but also became front-row viewers, directly engaging with the new outer space.  Columns Axonometric  Structure The landscape project is enclosed by a metallic grid of 1m x 1m covered with pyramidal coffers of reinforced concrete, supported by a forest of columns that subtly touch the structure forming an inverted pyramid with its capital. .jpg?1517903794 "© César Béjar") © César Béjar The ground is paved with irregular quarry blocks extracted from the Purepecha area of Michoacán placed on a bed of sand.  Column Exploded .jpg?1517902413 "Courtesy of TAAB") Courtesy of TAAB  Pyramids  This posting includes an audio/video/photo media file: Download Now |
| Posted: 08 Feb 2018 07:00 AM PST  © CODE + Johannes Belz
 © CODE + Johannes Belz Agronomy Campus Bella Vista: boarding house for an agricultural school in Bolivia / design and realization  © CODE + Johannes Belz  Axonometric  © CODE + Johannes Belz The boarding house constitutes the second construction phase within the campus of the training center. The new building complements functionally the operating school i.a. with his dormitory for the students, a lecturer room, a kitchen, a dining-, reading-, recreation-room as well as its independent facilities. The technical requirements in this phase are correspondent to the complex space allocation plan and in line with the high comfort requirements. Consequently, the students have to work with trades concerning construction as well as trades concerning the interior, the building services and the surroundings. The first few weeks various workshops, surveys and field trips are scheduled in order to encourage an intellectual exchange among the students of the TU Berlin and the participants on site. During the same time the outstanding technical equipment is being purchased, the studios of the training center are being installed specifically for the project, the site is being inspected. Collaborating with a female labour group on site three five-man-crews are formed for developing the facades, the building services (electrical installations/ sanitary installations), the completion of the roof and the design of the surroundings. A larger group consisting of a seven to eight-man-crew is engaged with the interior design and construction such as furniture and wooden doors.  © CODE + Johannes Belz With simple but effective means the building responds to the extreme climatic conditions. The massive brick masonry compensates the daily fluctuation of temperature, thus allowing for a comfortable indoor climate. The ventilated roof construction prevents the rooms from overheating. Its orientation ensures adequate supply of daylight in the rooms and the optimal declination of the roof for the integration of the solar system.  Sections 1 + 2 As the project is based on an integrative approach to architecture the relevant factors include both the architectural product and the multi-layered process of its creation considering technical, social, cultural and academic aspects. Being developed by an international and interdisciplinary collaboration of experts, students and craftsmen/-women from both Germany and Bolivia the mutual transfer of knowledge between academia and practice, between the two cultures and between the different disciplines is consequently one of the superior characteristics of the project. .jpg?1518089499 "© CODE + Johannes Belz") © CODE + Johannes Belz In terms of the architecture the overall task was to create a low-cost and energy efficient, climate responsive and resource saving building that would serve as a supportive learning environment and as a case study for sustainable building developments in low-tech environments, innovation and intelligent low-cost construction methods. This includes that the building was designed in a way that it could be constructed under the preconditions of "auto-construction", which forms 98% of the local building activities.  © CODE + Johannes Belz  This posting includes an audio/video/photo media file: Download Now |
| MVRDV Reveals Design For Dawn Bridge, A 80m-Long Dual Use Crossing in Shanghai Posted: 08 Feb 2018 07:00 AM PST  © MVRDV The 24-m wide crossing, located near the historical town of Zhujiajiao, will feature spaces for gatherings and scenic views. MVRDV's competition-winning design for a pedestrian bridge is scheduled to be completed by 2019.  © MVRDV From the Architect. MVRDV won a competition for Dawn Bridge, Shanghai, a new 80m-long dual use crossing conceived as a landmark for fostering daily life and social activities. The bridge is located near the historical town of Zhujiajiao, between the famous Fangsheng Bridge and the low-key Qingpu Road Bridge. The 24m-wide bridge signals to the future of the area, with a design that adds value to its surrounding, fostering social activities at the riverfront. Completion is anticipated for 2019.  © MVRDV Dawn Bridge lies between new residential developments at the edge of Zhujiajiao and close to the historical crossing of Fangsheng Bridge, a landmark since 1571. The bridge establishes a relationship with the delicate surrounding by absorbing its contextual palette of colours and materials. Gray roofs are recalled by the grey asphalt, whilst white walls are expressed with the prominent white bridge structure. The reddish wood used in houses nearby inspires the pedestrian deck and landings, whilst the green water and nature appear in the form of trees on top of the deck similar to those currently found at the Fangsheng Bridge.  © MVRDV "The vertical alignment of Dawn Bridge defines a sense of lightness and elegance, and our aim was to provide a graceful low curve above the river that also blends with the landscape", says Wenchian Shi, Partner at MVRDV. "Beyond blending, we wanted to create a bridge that invites public life over and around it and that is accessible to all people whether on foot or on wheels."  © MVRDV MVRDV's design responds to constraints both in construction area and clearance envelope and addresses the challenge of building the shortest bridge with an accommodating slope. In addition, the bridge proposes a solution to favour the view over the old town of Zhujiajiao and maximize the space available for pedestrians. To minimize the noise and air pollution from the road on the bridge, the middle truss is cladded and covered by a new structure: a flat deck which morphs into a tridimensional structure and becomes a tribune for meetings, gatherings and to experience views of the Dianpu river and the old town.
The landings become tribunes that allow pedestrians to cross on top and also a place for observing and reaching the water. The bridge design integrates it to the river and to the network of canals that form and identify Zhujiajiao, stimulating activities along the river banks. The design considers the active river bed, about 80m wide, leaving it completely free from permanent intermediate piers and other obstacles to its flow. In addition to reducing the chances of flooding, it provides smooth and straight navigation along the river. MVRDV won the competition-winning design selected by Zhujiajiao Municipality and the completion date is anticipated for 2019.  © MVRDV
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| House in Itatiba / Rassini Arquitetura Posted: 08 Feb 2018 05:00 AM PST  © Edson Ferreira
 © Edson Ferreira Text description provided by the architects. Often, a plan begins in one way and then it takes new contours. This was the situation that happened with the owners of this residence, with 250m², signed by the Rassini Arquitetura, an office from São Paulo. Localized in Itatiba, a city near to the capital of São Paulo, the architect Felipe Rassini says that a couple of clients looked for him with an initial intention of building a house as an investment plan. Rassini Arquitetura's actuation has started looking for the perfect land, inside a medium standard condominium. It was important prerogatives to achieve that they asked: build a single storey house on a large plot with special dedication for lighting issues, natural ventilation and finishes.  © Edson Ferreira  Floor Plan  © Edson Ferreira After choosing a land of 1,150m², Rassini Arquitetura developed the architectural project. Inspired by the Mies Van Der Rohe Pavilion, located in the city of Barcelona, the architect brought the large glass panels that contribute for the light and natural vegetation being always present in every environment of the house. Tied to this, the residence brings another premise requested by the owners: the integration among internal and external environments. For them, the house should also be clear and comfortable - not small nor large -, easy to maintain and built with materials of great finishing. The first solution presented to the client was a modulation created to facilitate the construction. The architect developed a module of 6x3m and, from it, arise the living room, dining room, kitchen and bedrooms.  Section A  Section C  Section D All home environments were arranged in such a way that natural light could always be the protagonist. The leisure area was born alongside the master house, but as a matter of terrain stood 2m below the main building. Even so, fully integrated. In the living room, with generous ceilings of 4,5m Rassini Arquitetura has chosen the comfort of the sofa in "L", propitious to enjoy the weekends. Charles Eames armchair was the choice for morning reading. From any point of the room, the view is the green landscape. The integration of living room, dining room and the kitchen was another solution suggested and approved by the clients. In this house, all rooms speak to each other and none are isolated. Even the outsiders are visually integrated. Only one corridor, enclosed with wood and glass, separates the social area from the reserved one. It crosses the Jabuticabeira Courtyard.  © Edson Ferreira The fruit tree has an interesting story: acquired as a "baby tree", with four years old, the desire is that the Jabucatibeira grows in partner with grandchildren's owners. Rassini Arquitetura has developed three bedrooms, being of them a suite. The bathrooms were thought generously. The house has only one type of floor: natural porcelain tile. The decision is justified by the ease of cleaning and also to reaffirm the integration of the environments. In the leisure area, pool and gourmet area. For the days of intense heat and parties! The decor was designed in a second step. "After verifying the construction, the couple that until then was focused on the house as an investment decided to keep the house as their property", tells the architect. In neutral tones, the decoration presents a clear base - predominantly for the shades of beige, white and blue, which blends with the exterior green. The furniture, straight and neat, and lighter, helped keep the attention for the external area of the house.  © Edson Ferreira  This posting includes an audio/video/photo media file: Download Now |
| 1 in 7 Women in Architecture Have Experienced Sexual Harassment in Past 12 Months, Reports AJ Posted: 08 Feb 2018 04:00 AM PST  Courtesy of The Architects' Journal Around 1 in 7 women in UK architecture practices has experienced sexual harassment in the workplace in the past year alone, according to the results of the annual Women in Architecture survey conducted by The Architects' Journal. The poll of nearly 1,500 architects also found that more than half of women have experienced some form of discrimination ranging from bullying to workplace rules that leave them disadvantaged in the same period. The AJ's survey, which in previous years has largely focused on issues such as pay disparity between men and women, focuses this year more broadly on gender discrimination and sexual harassment—a response to the global shift in awareness organized around movements such as #MeToo and #TimesUp.  Courtesy of The Architects' Journal Another question from the survey asked respondents whether they had witnessed sexual discrimination against another person in the past 12 months; once again, over half of the women responding said they had, while almost 1 in 3 male respondents to the survey agreed to having witnessed such discrimination. Qualitative responses to the survey reflected these statistics, with many women reporting that they felt left out of decisions, talked over, or ignored for promotion, while others reported that they had been advised to wear miniskirts to job interviews. One respondent reported being "sexualized openly by a client member, in front of the whole project team—none of whom intervened."  Courtesy of The Architects' Journal "There is absolutely no place for sexual discrimination, harassment or bullying in the workplace," said Michál Cohen of Walters & Cohen. "These are often top-down problems, so asking for them to be reported and dealt with internally is not going to help. Maybe we should be doing more to give women mentors outside their company who they can speak to frankly? [...] The RIBA, schools of architecture, and ARB can all do more." "One in seven women is unacceptable," said Sheffield School of Architecture Professor Fionn Stevenson. "It would be good to see a #MeToo campaign specifically concerned with outing practices where this is still occurring, to support the women involved and to encourage those in charge to do something about it."  Courtesy of The Architects' Journal Furthermore, the survey found that little progress has been made on issues such as wage disparity, with male respondents reporting higher wages than their female counterparts at every stage of their career, from architectural assistants to firm partners, with the disparity growing at higher levels. Women also reported that having children has a much greater impact on their careers when compared to men, especially earlier in their career: 72% of women reported that having children had a detrimental effect on their career compared to 25% of their male counterparts, while at partner level almost half of women thought having children affected their career negatively, compared to just 3% of men at this level. Visit The Architects' Journal to see more results of the survey and further commentary from around the profession.  This posting includes an audio/video/photo media file: Download Now |
| Go Juu Restaurant / PROMONTORIO Posted: 08 Feb 2018 03:00 AM PST  © Fernando Guerra | FG+SG
 © Fernando Guerra | FG+SG Text description provided by the architects. Located in Lisbon, the restaurant pays homage to chef Takashi Yoshitake passion for Japanese traditional gastronomy. Designed as an intimate and minimalist space intended as a club-restaurant and sake bar, it uses sliding panels and translucent fibre screens for flexibility and privacy.  © Fernando Guerra | FG+SG  Plan  © Fernando Guerra | FG+SG Simplicity in the use of diffused lighting and neutral colours of micro-cement floors, combine with natural materials, namely, the extensive use of walnut wood in tables tops and ceiling of wide planks.  © Fernando Guerra | FG+SG Green Bamboo marble counter tops, wall cladding and display shelving combines with show cooking areas in glazed handcrafted tiles and bronze glass mirrored partitions. The customized furniture is also in solid walnut with leather upholstery as well as the large central table and Japanese style floor chairs.  © Fernando Guerra | FG+SG  This posting includes an audio/video/photo media file: Download Now |
| How Boomers and Millennials Can Work Together (And Love It) Posted: 08 Feb 2018 01:30 AM PST  Adapted from image © <a href='https://unsplash.com/photos/yx7MRPsTgss'>Unsplash user rawpixel</a> When you're talking about a total of 151 million Americans, it's tricky to make sweeping but accurate generalizations. And yet, that's how many Americans fit into just two widely-recognized demographic groups: Baby Boomers, the 75 million people born between 1946 and 1964 and Millennials, the 76 million who came along between 1981 and 1997. Just as we can tell an LP record from an iPod, we've likely recognized common differences between Boomers and Millennials: How they typically work, communicate, balance job tasks and personal life, and what they expect for mentoring and promotions. How can Boomers and Millennials work together without driving each other nuts? We recently turned to two New York architects to discuss their experience, proposed solutions, and general observations. This discussion resonates far beyond the design industry as it is applicable to the workforce of today and has implications for the workplace of tomorrow. Our interviewees were Renaldo Pesson, associate partner at E4H Environments for Health Architecture, now in his third decade practicing interior architecture with a specialty in healthcare building design; and E4H architect Anne-Laure Cleeremans, who earned her master's degree from La Cambre in Belgium in 2012 and has practiced for five years. They've collaborated on several projects and renovations, including the construction of 80,000 square feet of corporate offices and public spaces for a leading healthcare system in New York City. Through their comments, it was possible to determine five pointers on how Boomers and Millennials can get the most out of their work together in terms of the quality of their work, their career advancement, and even their personal enjoyment of the job: 1. Recognize that Boomer-Millennial conflict and compromise can spark creativityRenaldo: One of the most exciting things about Millennials is their energy. You see Millennials who are saying, "Have we done this before?" and "What if?" and "Why can't we do this?'' They have the computer knowledge to quickly investigate options bordering on the near outrageous, and sometimes we [Boomers] have to say, "No, you can't build that, and here is why.'' But then you go back at it again, and between the Millennials and the Boomers, you find something in the middle but beyond the familiar, something more unusual and innovative. Anne: Millennials tend to have an instinct towards temporary spaces and flexibility in design, with the recognition that things need to be removable and convertible to something else in the near future. Things change faster all the time, so when you design a space, it's not for next 20 years like it used to be. We don't know if the design may have to change in five years. We are always thinking, "What's next?" 2. Knowing how to operate a pencil still mattersRenaldo: When it comes to creating an initial design, Millennials definitely can get moving faster, because their computer skills allow them to play graphically with imagery, design options, and 3D models; whereas the Boomer may be trammeled by realities and the thought process, thinking things through or sketching them out traditionally. Anne: There's definitely more of an immediacy with the computer generation. Millennials say, "Let's do this now, as fast as we can, and later we'll think about how it's all pulled together and how everything works." Renaldo: But at the same time, I've seen how difficult that can be for the Boomers or senior managers to know if the Millennial architect is really talented or really skillful. There is a difference, and sometimes it matters. The computer drawings these days look so precise, but if you really zoom in, you may realize there are missing components. I've been in situations in client meetings where there wasn't a computer (believe it or not) to draw or illustrate with. We were in a hot debate where a detail needed immediate resolution, and here saw our Millennial counterpart just look up blank with nowhere to turn. Boomer to the rescue, extracting the mighty pen and sketching it out to ask, "Do you mean this?" The funny thing is the audience looks up as if to wonder, "Can people still do that?" 3. Phones are for talking, tooAnne: Another big difference and challenge is communication. We are more comfortable with social media and casual emails. I think Boomers are more formal and direct. Sometimes the way Millennials communicate might be confusing for the Boomers. Renaldo: We were recently going back and forth with e-mails to a Boomer client and getting nowhere. Fed up, I finally said to Anne, "no more emails, let's pick up the phone and call the guy.'' So, we called, and within 10 minutes, we had an agreement with all parties about the direction we would pursue. I did a quick hand sketch, Anne scanned it to PDF, and emailed it at lightning speed. Then we picked up the phone again. "Do you understand what the sketch shows?'' In another two or three minutes the case was closed and off to formalize in Revit. I think Anne learned that sometimes, you still have to pick up the phone—and an "old-fashioned sketch" is more effective than several rounds of emails. 4. Agree to disagree about the meaning of "work-life balance"Renaldo: For the Boomers, the biggest challenge with Millennials is, we are oftentimes convinced that they—quite frankly—don't want to work as hard. They say, "We have a social life, we want to take vacations. We want to go to the rooftop bar or attend meet-ups on any night of the week." The Boomers will say, "There's work to be done, we have to finish this work. Where is your sense of urgency, your commitment?" Anne: I don't want to be completely under my work; I want balance between both of them. I'm committed to my work, but I still want to have a life besides my work because I know everything could end tomorrow. Renaldo: Boomers might skip or postpone a vacation to get a job done. Millennials are like, "No way, I don't want to do that. I have a vacation planned or time off and I'm outta here." Anne: And even if you [Boomers] are on vacation, you always check your emails! You can't really go away. Millennials are like, "I'm out. I'm not checking my emails because I need this time to recover." 5. Career Expectations Have ShiftedRenaldo: From the '80s to present day, people and the industry have changed dramatically. I think I waited ten years to be a senior designer. Key-word "waited." I was knocking stuff down and winning awards, bringing recognition to the firms, yet the promotion didn't come. It was timed-based, not performance. I recently worked with a young woman with two years of experience. She interviewed for a senior designer position, with not much to show, just the feeling that she's ready and capable. It's amazing. Worse than that, the parents support them! There was a youngster at an old office who didn't receive a great evaluation because he wasn't particularly good. His mother called in and yelled at HR about the lousy review. This is the age where everyone gets the same medal whether they finished first or dead last. So many believe they are due, sometimes way ahead of schedule, and sometimes there are others who are just ahead of schedule. So, my take is stereotyping or generalizing is never the ticket for success. The key is open-mindedness, a wiliness to get along, and an appreciation of your differences. Anne: I've noticed how Renaldo works with Millennials: you don't just criticize them and say you've done something wrong, you always explain the reasons. There's a training aspect of, "This is wrong—but I'm going to tell you why it's wrong, and how we can fix it." It puts great energy into the team relationship. This is a time when mentoring is not top-down, but a mutual mentoring. The Boomers mentor the Millennials—but also Millennials can bring a lot to Boomers as well. It makes for more innovation and more creativity all around. Peter J. Howe is a journalist with nearly 30 years' experience in Boston. The former business editor of NECN, he hosted "CEO Corner," an interview show with regional business leaders. Howe was previously a reporter and editor at the Boston Globe and is currently Senior Advisor at Denterlein.  This posting includes an audio/video/photo media file: Download Now |
| Herdla Birdwatching Tower / LJB AS Posted: 08 Feb 2018 01:00 AM PST  © LJB AS: Anders E. Johnsson
 © LJB AS: Anders E. Johnsson Text description provided by the architects. The landscape of western Norway is not only characterized by precipitous mountain slopes, glaciers, deep valleys and fjords, but also by industrial areas and fertile agricultural land along the rough coastline. Located on the very tip of Askøy, an island north of Bergen, you find Herdla, an area representing these typical agricultural landscapes. The wide and open grasslands, surrounded by shallow sea and sweet water ponds, have become the perfect spot for birds to rest and nest, attracting birdwatchers from all over the world.  © LJB AS: Anders E. Johnsson The most precious parts of the Herdla landscape is under conservation and managed by the regional authority for environmental protection, but also function as pasture land for a conventional farm with livestock and grass production. Here, consideration for agriculture, environmental protection and public outdoor life interests are all crucial, and as a way of making the richness of the area more accessible, a system of paths and a new bird observatory has been created.  © LJB AS: Anders E. Johnsson  Section  © LJB AS: Anders E. Johnsson Located close to the ponds and the beach, the steel and wood tower rises seven meters above the field. The concrete basement is hosting a pumping-station which functions as a draining facility for the agricultural fields as well as leveling the water in the ponds. Outside, on the ground floor, an amphi for sitting has been established, together with a footpath creating accessibility for wheelchairs to the tower. The amphi and the footpath are surrounded by a wall to the west, protecting the space from wind. The tower has two public floors; an accessible lower -and a top floor, which is accessed by a spiral stair at the center of the tower. As a way of hiding the visitors from the birds, both floors are cantilevering, also creating shadow and weather protection for the birdwatchers.  Technical Section The shape of the upper parts of the tower is an answer to the wish for 360-degree views, while the lower part respond to the 2nd World War concrete foundations that was already on the site, creating an integration between the historical aspects of the surrounding and the new function on the site, as well as keeping the cost of the project low. The architectural intention was to assemble a "safe" and stable basement with an aerodynamic and directional independent observatory above it. The precisely mounted wooden cladding adapts and changes colour in response to the weather conditions, creating a soft and nature-like overcoat to the strong and geometrical form.  © LJB AS: Anders E. Johnsson  This posting includes an audio/video/photo media file: Download Now |
| Mexican Architect Frida Escobedo Selected to Design 2018 Serpentine Pavilion Posted: 08 Feb 2018 12:30 AM PST  Interior render. Image © Frida Escobedo, Taller de Arquitectura, Renderings by Atmósfera London's Serpentine Gallery has announced Mexican architect Frida Escobedo as the designer for the 2018 Serpentine Gallery Pavilion in Hyde Park. Escobedo, known for her work in activating public spaces, will be the youngest architect to have participated in the Serpentine Pavilion program since it began in 2000. Her design features an enclosed courtyard created by two rectangular volumes positioned at an angle. With its interplay of light and water, the design is intended to evoke the sensation of Mexican domestic architecture, while using British materials and containing references to its London context.  Interior render. Image © Frida Escobedo, Taller de Arquitectura, Renderings by Atmósfera The pavilion will be constructed of cement roof tiles—chosen for their texture and dark color—stacked to form a celosia, a form of permeable wall common in Mexico. While the pavilion's courtyard will feature a triangular pool, the underside of the structure's roof will also feature mirrored panels, creating a pair of reflective surfaces which create varied effects due to the changing position of the sun throughout the day. The courtyard is arranged to align directly with the north-south axis, a reference to the Prime Meridian located a few miles to the east in Greenwich, a confirmation of the pavilion's intent as a "timepiece."  Design drawing. Image © Frida Escobedo, Taller de Arquitectura "My design for the Serpentine Pavilion 2018 is a meeting of material and historical inspirations inseparable from the city of London itself and an idea which has been central to our practice from the beginning: the expression of time in architecture through inventive use of everyday materials and simple forms," explained Escobedo. "For the Serpentine Pavilion, we have added the materials of light and shadow, reflection and refraction, turning the building into a timepiece that charts the passage of the day."  This posting includes an audio/video/photo media file: Download Now |
| These Office Interiors are Inspired by Well-Known Fonts Posted: 08 Feb 2018 12:00 AM PST  Courtesy of HomeAdvisor As many architects know, fonts have their own personality - so to use them as inspiration for office decors isn't as crazy as you might think. Typography has the ability to instantly tell a narrative to the reader before needing to read the words, hence why we can take the decision-making behind which font to use in a project or scheme very seriously. They can hold the utmost importance in graphic design and architecture, as we often find ourselves displeased if the font is inefficient or disproportionate (take comic sans for example). Seven unique, iconic fonts have been used as a base for each of the interior design projects below. Using their heritage, connotations, and style of the typography, HomeAdvisor have stylised each of the rooms to embody their identities and make us question their character. Helvetica Courtesy of HomeAdvisor The widely used sans-serif (without serif) typeface was developed in 1957 and has since been used by almost every typographic project imaginable, including corporate logos, income tax forms, and even NASA space shuttles. For an interior inspired by the classic, clean font, the office space has incorporated primary colors and a combination of straight and curved lines for a fresh and minimal look. Futura Courtesy of HomeAdvisor The geometric interior takes the timeless font Futura to create a striking and tasteful room, with a similar design style to the Bauhaus period. The clutter-free space is important to the scheme, as like the typology, it's efficient and simple. This has been achieved by organizing the elements of the room into lines with a simple monochromatic color scheme broken up by a contrasting pop of color. Baskerville Courtesy of HomeAdvisor Based on the updated Baskerville 1929 version, the design fuses Baroque and modern styles for a lavish and rich scheme that introduces metallics within muted light blues and beiges. Originally designed in 1754, the room draws on the typeface's refined elegant geometry for classic furniture with crisp edges to create a serene and mature workspace. Bickham Script Courtesy of HomeAdvisor This ornate interior applies the distinguished and formal style of Bickham Script to adorn the walls and furniture. The 18th Century lettering for many years has been used primarily for display, in menus and wedding invitations, so the lavish room is rich with ornament and decorative features are seen particularly in the Corinthian columns. Cooper Black Courtesy of HomeAdvisor This retro-inspired workspace has taken the 1960s and 70s culture associated with the Cooper Black font and given it a modern spin. Throughout both the decades it could be found on album covers and TV shows, although it has recently been popularised, being named the most fashionable font of 2017. Mid-century furniture and bright pops of color can be found in this interior. Courier Courtesy of HomeAdvisor As almost every typewriter company used Courier, following IBM who initially started the trend, the monospaced slab serif "typewriter" font represented a vintage necessity for the office. This workspace inspired by Courier has been designed to provoke hard work and productivity with functional furniture and a clear space to work, although the look has been updated with a bright coral shade on the walls. Comic Sans Courtesy of HomeAdvisor The casual font makes for a more informal workspace, teeming with bright colors and an array of textures for the child at heart. The fun shapes from repurposed old toys produce decorative items that give this satisfying room character. Whilst the font itself is generally hated by most of the design community, you can't help but enjoy this cheerful interior. Story via: HomeAdvisor.
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| Posted: 07 Feb 2018 10:00 PM PST The office of Santiago Calatrava, known for their incredible feats of architecture and engineering, has come under scrutiny for the cable failures of their Margaret McDermott Bridge in Dallas, Texas, which has been delayed in opening due to a series of cable failures that have occurred since 2016. However, while the office has taken heat for the malfunction, as the Dallas Observer reported, a newly released set of documents show that Calatrava's team tried to insist on testing the strength of the cables, even going so far as offering to loan money for these tests, but these offers were declined by the city. The first cable failed after a rod used to adjust one of the cables cracked on March 22, 2016. In the weeks following, two more rods cracked. A temporary fix of installing dampers onto the cables was attempted, but the pedestrian and cycle lane part of the bridge—the part actually held by the cables—has remained closed until a more long-term solution is found.  © <a href='https://www.flickr.com/photos/daxis/35630556066'>Flickr user daxis</a> licensed under <a href='https://creativecommons.org/licenses/by-nd/2.0/'>CC BY-ND 2.0</a> The $115 million dollar bridge is designed with two suspension arches that Calatrava designed, which are attached to the sides of a concrete pier-and-beam expressway bridge, to give the appearance of a suspension bridge. Investigations by Dallas City Council member Scott Griggs revealed a series of documents that show Calatrava's office repeatedly urged the city to properly test the cables, even offering to lend the city money for the tests if the issue was the cost. The documents further revealed that in September of 2016, Huitt-Zollars, the supervising engineering firm for the bridge, informed the Texas Department of Transportation that the City of Dallas and the contractor agreed to skip a cable stress test as a part of their value engineering options. Had these tests been done, these failures could have been predicted. News via Dallas Observer.  This posting includes an audio/video/photo media file: Download Now |
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