Arch Daily |
- Vilnius Tech Park / A2SM architects
- Groupe Scolaire De La Pomme De Pin / Céline Teddé & Jérôme Apack architectes
- Kanda Terrace / KEY OPERATION INC. / ARCHITECTS
- Juck-e-jae in Hadong / studio_GAON
- Pedongkelan-YN House / HYJA
- PERMEABLE LIVING Building / Arquitectura X
- Facade of Michael Graves' Postmodernist Portland Building Dismantled in Preparation for Recladding
- Cointec Office / DOT Partners
- Caruso St. John to Construct Public Piazza on the Roof of the British Pavilion for 2018 Venice Biennale
- Owsley Brown II History Center / de Leon & Primmer Architecture Workshop
- Rafael Viñoly Architects' NoMad Residential Tower 277 Fifth Tops Out in New York City
- Pine Sanctuary / MARC FORNES / THEVERYMANY
- Pritzker Prize-Winner Balkrishna Doshi Reminds Us That "The Architect Is at the Service of Human Society"
- Sykepleierskolen The Nursing School / JVA
- 2018 Pritzker Prize Winner Balkrishna Doshi's Work in 21 Images
- New Plan for LA River Revitalizes and Connects Community
- Habitation Lecoq / Crahay & Jamaigne
| Vilnius Tech Park / A2SM architects Posted: 09 Mar 2018 09:00 PM PST  © Norbert Tukaj
 © Norbert Tukaj Text description provided by the architects. Vilnius Tech Park building complex designed by A2SM architects is located in the area known as Sapiegos park. The place is a collection of low rise XIX century brick buildings which used to be a hospital and a park. Architects have been tasked to redesign the existing buildings to fit a whole lot of new functions, the main one being – a collaborative hub, focused on startups and technology companies. The historic site has revealed itself to be very flexible towards the contemporary needs of office space and also adaptable for expansion. Architects have revealed the most graphic features of the old buildings and framed them to be the part of the new interior. Old roof timber was salvaged and reworked into the tables and benches for the public areas of the complex. With this outlook of experimental heritage protection Vilnius Tech Park stands as one of a kind complex for startup companies in the whole Baltic area.  © Norbert Tukaj  Complex Plan  © Norbert Tukaj Program:  © Norbert Tukaj  Axonometric 001  © Norbert Tukaj Design:  © Norbert Tukaj  This posting includes an audio/video/photo media file: Download Now |
| Groupe Scolaire De La Pomme De Pin / Céline Teddé & Jérôme Apack architectes Posted: 09 Mar 2018 06:00 PM PST  © Julien Lanoo
 © Julien Lanoo Text description provided by the architects. A monolithic polyhedron made up of white bricks and raw concrete, the Pomme de Pin school complex, which was delivered in 2015 in La Fare-les-Oliviers (Bouches-du-Rhône), does not immediately conjure up its function. Set up east of the town at the boundary with the Arc agricultural plain in a sprawling residential suburb, it acts as an urban marker at the entrance to the hamlet. The architects of the AT agency (Marseille) and of the DSA agency (Lille) designed a compact building in which the nursery school and the elementary school are superposed, thus minimizing the constructible area of the project. The main programme, which comprises two schools and a recreational centre, is supplemented by a multipurpose hall for the activities of the three establishments and by a car park built on "restanques" (in Provençal, a "restanco" is a drystone wall).  © Julien Lanoo  Ground Floor Plan  © Julien Lanoo Erected deliberately away from the surrounding buildings, the school offers its users an indoor landscape varied by manifold outdoor areas. A front square, a porch, a paved yard, a patio, a "schoolchildren path" (a long approach ramp to the elementary school), passageways and a terraced playground punctuate the site and allow the children and the teaching staff to take full advantage of it. The rough-hewn volume, associated to the terraced roofs, the openings in the front walls and the indentations in its outer walls offer this inner world open views on the close and remote landscape: from the limestone hills around the town to the Etang de Berre and the Montagne Sainte Victoire. Noble materials such as brick, concrete, glass and wood – domesticated fragments of the surrounding nature – are all offered to the first perceptions of children and to their school memories.  © Julien Lanoo This marked mineral character reveals the landscape through contrast and identifies it as a public facility while setting it on a sustainable path. The light hues of the bricks and concrete reflect the southern light and echo Mediterranean landscapes.  © Julien Lanoo  © Julien Lanoo A poetic play on light and shade, set by alternating the qualities of inner and outer areas, unfolds as weeks go by and uses of the school vary, to give the children a feeling of freedom which favours learning.  © Julien Lanoo  This posting includes an audio/video/photo media file: Download Now |
| Kanda Terrace / KEY OPERATION INC. / ARCHITECTS Posted: 09 Mar 2018 02:00 PM PST  © Shigeo Ogawa
 © Shigeo Ogawa Text description provided by the architects. Located in a central Tokyo neighborhood with many low and mid-rise office buildings, this rental building for restaurants stands on a long, narrow lot, surrounded on three sides by streets.  © Shigeo Ogawa  Floor Plans  © Shigeo Ogawa Key considerations when designing a building of this type are how to create a group identity for the tenants and how to relate the units to the cityscape. Because of its city-center location, this mid-rise building needed to be commercially efficient, occupying the entire permissible floor area ratio and filling that space with restaurant tenants on every floor. It was therefore essential to create the image of a building full of restaurants, to set up a bright and welcoming environment for visitors, and an attractive building for the passerby.  Section The new building has a recessed façade with three-dimensional stacked terraces, protruding into this space on each floor. The size and shape of these terraces vary by floor, creating a layered form that changes as it moves upward. Furthermore, this dynamic facade is entirely made of glass, allowing people outside to look into the restaurants. These excrescences are real outside extensions to the restaurants space, and appear to the facing street like a lively theater scene.  © Shigeo Ogawa The sheltered terraces are connected with a strategically placed yet continuous gap link the terraces with above and below, allowing even diners on the higher floors to sense the people and cars passing on the street below and enjoy eating in a dynamic urban atmosphere. In typical multi-story restaurant buildings, tenants are completely independent of one another, but this building, they interact through terraces, creating opportunities for customers at each restaurant to visit the others.  © Shigeo Ogawa Regarding the materiality of the building, the black joinery work and frames, while avoiding an office-like exterior appearance, give to the building an entity, and allow each restaurant unit to stand out clearly from each other. For the interior spaces, the black window sashes, neutral and basic, allows the users to appropriate the space easily.  © Shigeo Ogawa In response to its context, the building, alike a porous volume, encourages the terraces on each floor to connect to the street and the larger neighborhood. In doing so, it aims to a new type of public character.  This posting includes an audio/video/photo media file: Download Now |
| Juck-e-jae in Hadong / studio_GAON Posted: 09 Mar 2018 12:00 PM PST  © Youngchae Park
 © Youngchae Park 'Simni Cherry blossom road', located in Hadong, Gyeongsangnam - do, is one of the most beautiful roads in Korea. From the Hadong Hwagae Market to the Ssanggye Temple, cherry trees make a tunnel in spring, where people flock to enjoy the exquisite scenery. The cherry blossoms covering the road look as if the giant dragon is emitting up cherry blossoms as it moves. Once I stepped into a crowd and entered a cherry blossom tunnel. Seeing the pale pink petals blowing off in the wind, cover ing the sky and falling on the ground, I felt the sense of being in a surreal dream. When cherry blossoms are gone, the road turns into a quiet and tranquil place.  © Youngchae Park  Site Plan  © Youngchae Park We built a house on a hill overlooking that road. The name of the house, surrounded by stretched out mountains as well as this beautiful road, is Juck - e - jae. The name originates from the phrase in Hwagumkyeong (Buddhist scriptures), meaning ' to stay calm and admire. ' Just like the name of the house, it was commissioned by a patron who just retired, moving to his wife's hometown Hadong, to enjoy a quiet life. The site is located in the middle of Jiri - Mountain, and a stream flows smoothly between the mountain faces to join the Seomjin river. The owner of the house is a couple in their 60s who live with their elderly mother. Their children visit time to time. Because her family and friends are firmly rooted in her hometown, she felt comfortable to build this new home, unlike others moving to the countryside for their retirement in a strange place.  © Youngchae Park The owners have been living quite carefree city - life in their apartments for a long time. After deciding to build a house, however, they began to dream a house with a vegetable garden and a wide yard in a rural village, just like they had lived in their childhood. Naturally, the exterior of the house had to look like Hanok (traditional Korean - style house). But it is too expensive to build an authentic Hanok now and their lifestyle has changed a great deal to be accommodated by old Hanok. Therefore, we used a common light - frame wood structure, but followed the spatial language of Hanok, connecting the interior and exterior of a house.  Lower Floor Plan  © Youngchae Park  Section 2 Storage for clients ' collections and old household items were provided economically in a limited scale of the house. The wife ' s study room was placed close to their mother ' s room. The second floor was designed as 'Room of relations', to be provided as guest space for relatives and children. After setting the program, the owner turned his eyes to the outside of the house rather than figuring out how to decorate the house. Throughout the construction, the big concerns of the client were what to plant, how to build up the axes, how to build the gardens and the reservoirs, how to manage the persimmon trees and chestnut trees.  © Youngchae Park In a way, concentrating in the landscape matter seemed to be the right direction. We forget so easily that house eventually sets off on the ground. We cannot simply say that design of a residence ends with the physical building. The design of a real residence begins when we start to recover the land around. Like a cloud of smoke rising from the house, like the smell of warm soup that a mother prepares for the family dinner, like a cosy garden without careful attention, like the warmth of the words that we share among the family, we experience the warmly emotional connections with people who live together. Only then the interactions create the perfect temperature of the house and become the temperature of the life. This is what we expect from the house.  © Youngchae Park  This posting includes an audio/video/photo media file: Download Now |
| Posted: 09 Mar 2018 11:00 AM PST  © Ernest Theofilus
 © Ernest Theofilus Text description provided by the architects. The site is located in a densely populated residential area. The House position is located in a corner and oriented to the west, so it is exposed to the sun in the afternoon. We respond with a secondary skin design to cover most faces of buildings that have large glass openings. The second skin is a sustainable wood grille, easy to care for and environmentally friendly, this lattice reduces the sun's rays in order not directly shine the inner space. we also design the second skin from the iron plate, so it does not impress the wood solely. This second skin gives the impression of shade through the shadow that arises.  © Ernest Theofilus Swimming pool in position on the side, so as not to take space from the building inside.The pool terrace is placed in the middle of the room so as to divide the inner space into 2. Fields in this area are given glass openings, so that visually all the rooms are still connected, and not seem narrow. The pool has a cooler temperature, we put the ceiling fan on the pool terrace to draw the wind from the temperature of the pool, and when the corridor door is open, it will feel cool breeze into the room and the air pressure changes.  Section Home theater space under the pool, made a glass openings for visual continuity of the building, and at the same time illuminate the room inside. The bedroom balcony floor features a hollow iron plate for continuous air continuity. This material reduces the impression of solid. The combination of wood, iron and stone walls gives the impression of a modern tropical house, as well as a blend of green landscape to reduce the massive impression on the overall shape of the building.  © Ernest Theofilus  This posting includes an audio/video/photo media file: Download Now |
| PERMEABLE LIVING Building / Arquitectura X Posted: 09 Mar 2018 09:00 AM PST  © Sebastian Crespo
 © Sebastian Crespo Permeable living This building proposes a possible answer to reconcile market interests with the necessity for architecture to be the tool for place making in a city, relying on permeability at all levels:  © Sebastian Crespo  Section  © Sebastian Crespo We fragment the possible building mass, creating two main courtyards, one at the back to provide an inner facade and garden, one towards the contained cul-de-sac; we then fragment the building in section to achieve elevated double height terrace-courtyards overlapping each other.  © Sebastian Crespo Both actions break up the border between building and city  Axonometric The normally hermetic volume of a series of stacked apartments with private balconies becomes a permeable open form that relates apartments to each other and to the city. The city also permeates the building at different heights taking advantage of Quito´s topography and the building is totally open at street level to the quiet residential neighbourhood, changing the relationship with its surroundings as it rises to eventually reach out to the great city scape limited by the Andes.  © Sebastian Crespo The two tree lined courtyards provide scale, shade, and quality public spaces at ground level. Trees give the same quality and character to the large terrace-courtyards which are designed for appropriate species to grow in overhanging planters.  © Sebastian Crespo  This posting includes an audio/video/photo media file: Download Now |
| Facade of Michael Graves' Postmodernist Portland Building Dismantled in Preparation for Recladding Posted: 09 Mar 2018 08:20 AM PST  The Portland Building under construction. Image © Iain MacKenzie. via Docomomo Work has begun on the dismantling of the facade of Michael Graves' iconic Portland Building, part of a $195 million project that could see the building lose its inclusion on the National Register of Historic Places.  The teal tiles have been removed from the building podium.. Image © Joakim Lord. via Docomomo Often recognized as the first built example of civic-scale Postmodern architecture, the Portland Building was completed in 1982 for the relatively low cost of $28.9 million (including furnishings), instantly putting Portland on the map as a city of progressive design ideals. Housing the city's municipal offices, the building was most notable for its graphic painted concrete and tile facade, which rescaled and flattened elements of classical architectural. But over the years, seismic deficiencies and water intrusions issues have plagued the structure, requiring constant maintenance, including a large renovation to fix cracks in the lobby and food court just 8 years after its opening. These issues led the city to investigate how to best improve the site in 2014 – considering options as drastic as demolition. But in 2015, after fightback from preservationists as well as Michael Graves himself, the Portland City Council settled on a reconstruction plan that aims to preserve the building's appearance, while replacing original materials with contemporary updates.  A rendering of the future Portland Building. Image via Next Portland On the tower's body, the existing concrete facade will be overclad with an aluminum rainscreen system painted to match the original composition, and the existing tinted windows will be replaced with a more transparent glass, while the stucco garlands along the side of the building will be reformed in aluminum. At the building podium, the existing teal tiles are being replaced with new terracotta rainscreen tiles twice the size of the originals. Other changes include the partial infilling of street level loggias with aluminum storefront systems and the repurposing of the underground parking garage into a fitness center and bicycle parking.  The facades signature classical elements will be replaced with reformed aluminum. Image © Joakim Lord. via Docomomo International architectural preservation organization Docomomo responded to these proposed changes, noting that the project may set an unfortunate precedent for the treatment of future architecturally significant buildings: "The preservation approach for this building is precedent setting, and unfortunately the contempt for the aesthetics of post modernism (or perhaps the misunderstanding of post modernism entirely) clearly drove the "preservation" approach," said Docomomo in a news post. "While City Council's vote to approve the project was expected, the Historic Landmarks Commission's initial conditional approval of the project was a blow to historic preservation efforts for modern and post-modern resources, offering a truly troubling perspective that even buildings that have reached the higher bar of meeting National Register criteria before the age of 50 can be treated as less important than buildings of stone or terra cotta. The historic status of the iconic Post-Modern building is threatened due to the exterior modifications (the entire façade will be covered in metal paneling)." Even more troubling, the National Park Service has said that the exterior modifications will "more than likely remove the building from the National Register," after achieving status in 2011. Learn more about the ongoing reconstruction, here, and at Docomomo Oregon, here. News via Docomomo, Next Portland.
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| Posted: 09 Mar 2018 07:00 AM PST  © David Zarzoso
 © David Zarzoso Text description provided by the architects. The project for the new Cointec offices is the renovation of a commercial property across from Parque Severo Ochoa in the city of Orihuela. The space was presented raw, with only a metal structure built to support a mezzanine.  © David Zarzoso The low-lying position of the local roads and the fact that it is in a flood zone were decisive in the creation of an elevated level in the entry area that would serve as protection against water runoff.  © David Zarzoso The project has drafted a layout which aims to promote a feeling of spaciousness, creating a continuous space compartmentalized only through the precise positioning of furniture and glass partitions that visually connect the different rooms.  Floor Plan The staircase and restrooms are located in the back of the room, allowing for a larger area of free space in the front area. A central beam provides the storage space required for workspaces and space for air-conditioning and ventilation equipment.  © David Zarzoso The material aspect of the project is characterized by the use of a continuous concrete floor, which connects every room of the office and harmonizes with the brushed stainless steel frames of the partitions. The stone used to build the bench located in the hall is intended to create a contrast with the pavement and accentuates its uniqueness.  © David Zarzoso Txema García Ballester, architect at Dot Partners: "When we started our professional endeavors, the world was submerged in one of the worst economic crises in modern history. We understood that society demanded that architects provide architecture that was capable of standing up to periods of crisis and optimizing resources in order to obtain higher quality at a lower cost.  © David Zarzoso Our proposal is to offer honest works of architecture, taking austerity and simplicity as core values. The Cointec offices have been created from that perspective, so that the expressiveness of the space is a result of the proportions, materials and light."  © David Zarzoso  This posting includes an audio/video/photo media file: Download Now |
| Posted: 09 Mar 2018 06:00 AM PST  Holy Rosary Church at Shettihalli. Image Courtesy of Bhaskar Dutta As part of our 2018 Venice Architecture Biennale coverage we present the proposal for the British Pavilion. Find the curator statement below. The British Pavilion for the 2018 Venice Biennale, entitled 'Island', was curated by Stirling Prize-winning Carusco St John Architects, working in collaboration with artist Marcus Taylor. Responding to the Biennale theme of 'Freespace' set by curators Yvonne Farrell and Shelley McNamara of Grafton Architects, 'Island' sees the construction of a new public piazza on the roof of the British Pavilion, leaving the building below empty of exhibits. At the piazza's centre, the Pavilion's roof protrudes upwards through the floor to represent both an island, and an undiscovered world beneath. The programme for the British Pavilion sees a series of events including poetry, performance, film and debate, all interpreting interpretations of 'Island' and 'Freespace'.  The Tempest, Act II Scene 2, Caliban, Stephano and Trinculo dance on the seashore. Image via Johann Heinrich Ramberg  Plan of the raft of the Medusa. Image Courtesy of Alexandre Corréard Curator Statement
These lines could be a modern interpretation of the opening of the Tempest. Instead they are by the young British performance poet Kate Tempest, who eloquently navigates us through the architecture of daily life in Britain, in her album Let Them Eat Chaos. In Shakespeare's play, Prospero's invoked storm, and the washing up of the voyagers on an unnamed Mediterranean island, provides an encounter of old and new worlds. The voyagers are wrecked but unharmed. The design for the British Pavilion for the 2018 Biennale responds to the theme of Freespace through the construction of a new public space on the roof of the original building. This elevated position offers visitors a popular meeting place, a unique and generous view out from the Giardini to the Lagoon, and a place of respite. The Pavilion itself is open to the public but empty, with just the peak of its tiled roof visible in the centre of the public space above, suggesting a sunken world beneath. The two spaces will host a programme of events including poetry, performance and film, as well as architectural debate. Neighbouring national pavilions will also be invited to hold their own events at the British Pavilion.
There will be many ways to interpret the experience of visiting Island, the 2018 British Pavilion. An island can be a place of both refuge and exile. The state of the building, which will be completely covered with scaffolding to support the new platform above, embraces many themes; including abandonment, reconstruction, sanctuary, Brexit, isolation, colonialism and climate change. A simple interpretation would be to see the layout as having an above and below, heaven and hell, future and past. This is not the intention. At times the situation could be the reverse, where the abandoned pavilion becomes a sanctuary during oppressive heat or a storm. In the empty pavilion, the whole history of the place can be told. The galleries are resonant with the marks, stories and ideas of the exhibitors and audiences who have passed through the building at previous Biennales. The building itself, opened in 1897 as a tea house within the Giardini, and adapted for use as the British Pavilion at the 1909 Biennale, represents a moment in time when the world was divided along colonial lines. It has stood through two world wars, fascism, the formation of the European Community, the fall of communism and now major concerns of climate change and rising sea levels, Venice being a city more vulnerable than most. These are challenges for all of us, the way we build, design cities, consume and live our lives.
Learn more about the 2018 Venice Biennale and the 2018 country pavilions, here.  This posting includes an audio/video/photo media file: Download Now |
| Owsley Brown II History Center / de Leon & Primmer Architecture Workshop Posted: 09 Mar 2018 05:00 AM PST  Courtesy of de Leon & Primmer Architecture Workshop
 Courtesy of de Leon & Primmer Architecture Workshop Text description provided by the architects. Based in Louisville, Kentucky, the Filson Historical Society collects, curates, and archives the rich narrative of the Ohio River Valley region, offering an ambitious range of educational programs and cultural resources that support this focus. After 130 years of collection & operation, the organization outgrew its existing home in the Ferguson Mansion - an historic example of Beaux Arts architecture in the city's Old Louisville preservation district - and sought to expand and modernize its assets. In doing so, the Filson also identified an opportunity to reflect its role more clearly as an inviting public resource engaging a diverse and broad community – rather than a private entity with exclusive membership.  Site Plan  Courtesy of de Leon & Primmer Architecture Workshop  Site Section As one component of a comprehensive expansion that links together existing historic structures and a public plaza, the Owsley Brown II History Center is a new 30,000 square foot facility that provides multi-use event spaces, archival storage, and a digitization lab. In reinforcing a renewed presence of welcome and openness for the Filson, the History Center is configured to visually reveal its internal functions to the community as a deliberate architectural contrast to the Ferguson Mansion - capitalizing on the advantages of modern construction methods which allow for non-load bearing walls and large expanses of glazing. Embedded throughout the building are a series of transparent passageways and exhibit spaces that encourage exploration and discovery, while an elevated pedway weaves between the History Center, a Carriage House, and the Mansion. For the first time, the "New Filson" campus actively knits together adjacent neighborhood blocks through visually & physically porous boundaries.  Courtesy of de Leon & Primmer Architecture Workshop Informed by in-depth research & documentation of the area's circa-1800 development densities, historic residential proportions, and materials common to the neighborhood, the new facility is specifically rooted in its immediate context while being clearly of its time - avoiding a 'false sense of history.' Aiming to achieve a design sensibility that evokes the handcrafted nature of the Ferguson Mansion's architectural elements, the project recalls and re-invents traditional period details through new fabrication techniques that explore complexity through rigor, resourcefulness, and ease of fabrication. Historic features such as ornate ceilings, staircases, and wood-paneled walls are reinterpreted through abstracted references to the Filson's focus on the Ohio River Valley region, drawing on conceptual precedents such as water droplets, ripples, and refracted surfaces.  Proportions and Ground Diagrams The project implements numerous sustainable design strategies that primarily focus on passive and economical approaches, including site orientation, natural light, regionally-sourced materials, and prefabrication. Although the client did not request to pursue LEED certification, the project is designed to meet LEED Silver criteria as a minimum threshold. Through an inclusive design process facilitated by early involvement of the community, building committees and approval agencies, the Owsley Brown II History Center is the only large-scale building within Old Louisville to receive unanimous approval by the city's Historic Landmark Commission in over 40 years.  Courtesy of de Leon & Primmer Architecture Workshop  This posting includes an audio/video/photo media file: Download Now |
| Rafael Viñoly Architects' NoMad Residential Tower 277 Fifth Tops Out in New York City Posted: 09 Mar 2018 04:00 AM PST  Left image courtesy of Rafael Viñoly Architects. Left image via Field Condition Rafael Viñoly Architects' 277 Fifth has topped out at its full height of 663 feet, making it one of the tallest towers in the relatively low-lying NoMad area of Manhattan. The 55-story condominium tower, located at the corner of Fifth Avenue and 30th Street, features a restrained facade design composed of lightweight, reinforced, Indigo-colored cast concrete panels that were custom fabricated in Finland. As the building rises, its elevations are punctured by four unique 'loggias' that give residents of those units a space for outdoor dining and leisure.  Courtesy of Rafael Viñoly Architects 277 Fifth Avenue contains a total of 130 one- to four-bedroom residences, including the four Loggia Residences and three penthouse units with ceilings height of 13 or more feet. Interiors have been designed by Jeffrey Beers International. Architectural photography blog Field Condition recently captured the building after its topping out, showing off the facade system and truly inspiring skyline views from upper level units. Check out the whole photoseries, here.  This posting includes an audio/video/photo media file: Download Now |
| Pine Sanctuary / MARC FORNES / THEVERYMANY Posted: 09 Mar 2018 03:00 AM PST  Courtesy of THEVERYMANY
A Tree Unlike Other Trees  © Light Monkey Photography
Something super-natural  © Light Monkey Photography A delicate balance of surface + structure  Stripes Top View 3 Ultra-thin Bending-active  © Light Monkey Photography Stripes, Chevrons, Spine  All Parts Layout The stripes of Pine Sanctuary adjust in density, so that gaps between them generate areas of porosity. In petal-like forms, the stripes merge together at the base, offering spaces where dancers and explorers and tree-dwellers of all kinds can tuck in, recline, or hide for a moment. 3,161 unique stripes accumulate to host these activities. Day and night, our tree-like pavilion anticipates diverse occupations. When and how you choose to spend your time there is up to you. Pine Sanctuary is the studio's second public art project in Canada, after "Vaulted Willow," a permanent folly in Borden Park in Edmonton, commissioned by the Edmonton Arts Council.  © Light Monkey Photography  This posting includes an audio/video/photo media file: Download Now |
| Posted: 09 Mar 2018 01:30 AM PST  Balkrishna Doshi named 2018 Pritzker Prize Laureate. Image Courtesy of VSF Last Wednesday the world knew the name of the latest Pritzker Prize laureate: Balkrishna Doshi, the first Indian architect to receive architecture's highest honor. The jury stated that "with an understanding and appreciation of the deep traditions of India's architecture, Doshi united prefabrication and local craft and developed a vocabulary in harmony with the history, culture, local traditions and the changing times of his home country India". While architects all in India are rejoicing and celebrating him, Anupama Kundoo, Professor at IE School of Architecture and Design, shared her thoughts on Doshi's Pritzker Prize. "It is timely that there is recognition of a holistic understanding of the role of the architect, where the design of the built environment is seen as sensitive interventions that retain human scale in the man-made built landscape", stated Kundoo.  Le Corbusier and Balkrishna Doshi. Image Courtesy of Balkrishna Doshi We are very happy to hear that Balkrishna Doshi has been chosen as this year's Pritzker laureate. The timeless values that he represents personally and professionally, are exactly what needs to be globally acknowledged as architectural best practice. At a time where architecture is being reduced to seductive building forms and photogenic facades that are air-dropped into diverse contexts, regardless of their complex local cultural or climatic context, where over-simplified computer-generated renderings and often frivolous play of forms are becoming the norm, I hope that the Pritzker committee's decision will bring the attention back to architecture's real capacity to facilitate and create environments that are human society-centric.  Life Insurance Corporation Housing / Balkrishna Doshi. Image Courtesy of VSF It is timely that there is recognition of a holistic understanding of the role of the architect, where the design of the built environment is seen as sensitive interventions that retain human scale in the man-made built landscape, despite technological advances, so that industrial and machine-scale infrastructure solutions do not take over our daily lives, at the cost of neighborhood and community, leading to social segregation, loneliness, and unhealthy day to day experiences.  Indian Institute of Management, Bangalore. Image © <a href='https://commons.wikimedia.org/wiki/File:IIM-B_016.jpg'>Wikimedia user Sanyam Bahga</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> Doshi's body of works show that outstanding contemporary buildings can be expressions of deeper cultural values of a collective, that architecture is the synthesis of many complex concerns, and above all a backdrop for life to take place, where the architect is at the service of human society. .jpg?1520598153 "Amdavad ni Gufa, Ahmedabad. Image © Laurian Ghinitoiu") Amdavad ni Gufa, Ahmedabad. Image © Laurian Ghinitoiu As an educator, and founder of CEPT, Doshi has inspired generations of students beyond the institution by having always welcomed students and practicing architects from the world over, to share experiences, collaborate and engage in the discussion of architecture, just as on a personal level his home has been equally open to all. Despite his success and fame, he has always been accessible and inclusive, and treated people regardless of age and experience at par.  Balkrishna V. Doshi with students at School of Architecture, CEPT , Ahmedabad, c . 1970s. Image via India: Modern Architectures in History by Peter Scriver, Amit Srivastava He may be the eldest architect to have been honored with the Pritzker prize, but his spirit is probably the youngest. Those who have interacted with him will agree that his youth, curiosity and openness is inspirational. While architects all around me in India are rejoicing and celebrating him and the attention drawn to the universal values they see in him; I am glad that the global community will equally take the time to discover more about his work and legacy and perhaps rethink where contemporary architecture is headed.  This posting includes an audio/video/photo media file: Download Now |
| Sykepleierskolen The Nursing School / JVA Posted: 09 Mar 2018 01:00 AM PST  © Paul Paiewonsky
 © Nils Petter Dale Text description provided by the architects. The Nursing School at Dikemark was built in 1966. The building consisted of a low-rise containing the school program and a high-rise comprised of single-room student dormitories. The structure is cast in in-situ concrete, facades are clad in redbrick. Architecturally and tectonically the building was of high quality, and likely to have been an exemplary school of its time. The correlation between the two buildings create a nice forecourt, and the buildings are positioned high and unobstructed in the terrain. The building stood unused for several years and was practically a ruin prior to renovation.  © Paul Paiewonsky The Nursing School is presently renovated into 43 new apartments and rowhouses of varying size. The entirety of the existing building volume was made use of in the refurbishment. In the shaping of apartments and rowhouses, the existing structures have been made use of to the greatest possible extent, and existing qualities such as; existing spaces, materiality and the use of color in informing our design. The building volumes are principally unaltered apart from a new carpark beneath the forecourt. Where possible, openings have been made in loadbearing walls where it has been viable to facilitate larger continuous units without compromising the integrity of the existing structure. Existing floor slabs are more or less intact, with the exception of the row houses in the low-rise, where openings were made for internal stairs and lightwells, creating double-height spaces beneath skylights.  © Paul Paiewonsky  Refurbishment Diagram  © Paul Paiewonsky The buildings advantageous position in the landscape and the views and vistas have been essential in informing the design of the apartments. In all essence, there is a consistent use of glass from floor to ceiling. In addition, all apartments and row houses have spacious private balconies or terraces. The new apartments are visually and constructively informed by the constraints of the existing construction, creating spaces with architectural qualities connecting the present day building to its history. The original construction and facade are visible in the new project where possible: Concrete surfaces, steel constructions, and redbrick facades.  © Paul Paiewonsky The new façade of the high-rise reflects the rhythm of the original redbrick façade with bands of windows varying in height. A good portion of the internal existing surfaces has been encapsulated on account of modern standards of acoustic, fire and climatic principles. The premises and possibilities of a renovation have given way to new and unexpected architectural qualities and solutions that would not have come into existence based on a rationale of building "from scratch". The forecourt between the two buildings has been incorporated into the renovation by means of a parking garage below and attractive common areas and playgrounds above. The row houses have private front gardens facing these common areas. Throughout the entirety of the planning and building process, there has been a continuous and close cooperation between entrepreneur, client and architect with the intent of optimizing the balance between economy and quality. This has resulted in a varied and affordable housing of a unique architectural quality.  © Paul Paiewonsky SYNAPS  © Paul Paiewonsky  This posting includes an audio/video/photo media file: Download Now |
| 2018 Pritzker Prize Winner Balkrishna Doshi's Work in 21 Images Posted: 09 Mar 2018 12:00 AM PST  Centre for Environmental Planning and Technology . Image © VSF. Courtesy of the Pritzker Architecture Prize After designing over a hundred buildings and establishing several schools of architecture, Balkrishna Doshi achieved architecture’s highest accolade: the Pritzker Prize Award. Doshi is the first Indian architect to receive this award. He is known as an architectural advocate for social change and the environment. Doshi believes his award is not only for himself but for all of India. The 90-year-old architect stood out as a pioneer of social housing design and architectural identity in India. Reflect on his legacy through these 21 images of his work: Amdavad ni Gufa (1995) Amdavad Ni Gufa. Image © VSF. Courtesy of the Pritzker Architecture Prize .jpg?1520442656 "Amdavad Ni Gufa . Image © Laurian Ghinitoiu") Amdavad Ni Gufa . Image © Laurian Ghinitoiu  Amdavad Ni Gufa (Construction). Image © VSF. Courtesy of the Pritzker Architecture Prize Aranya Low-Cost Housing (1986) Aranya Low Cost Housing. Image © VSF. Courtesy of the Pritzker Architecture Prize  Aranya Low Cost Housing. Image © VSF. Courtesy of the Pritzker Architecture Prize  Aranya Low Cost Housing. Image © VSF. Courtesy of the Pritzker Architecture Prize  Aranya Low Cost Housing. Image © VSF. Courtesy of the Pritzker Architecture Prize Centre for Environmental Planning and Technology (1968) Centre for Environmental Planning and Technology . Image © VSF. Courtesy of the Pritzker Architecture Prize  Centre for Environmental Planning and Technology . Image © VSF. Courtesy of the Pritzker Architecture Prize  Centre for Environmental Planning and Technology . Image © VSF. Courtesy of the Pritzker Architecture Prize Sangath Studio (1981) Sangath Architect's Studio. Image © VSF. Courtesy of the Pritzker Architecture Prize Institute of Indology (1962) Institute of Indology. Image © VSF. Courtesy of the Pritzker Architecture Prize  Institute of Indology. Image © VSF. Courtesy of the Pritzker Architecture Prize  Institute of Indology. Image © VSF. Courtesy of the Pritzker Architecture Prize Indian Institute of Managment (1985) Indian Institute of Management, Bangalore . Image © VSF. Courtesy of the Pritzker Architecture Prize  Indian Institute of Management, Bangalore . Image © VSF. Courtesy of the Pritzker Architecture Prize  Institute of Indology. Image © VSF. Courtesy of the Pritzker Architecture Prize Life Insurance Corporation Housing (1973) Life Insurance Corporation Housing. Image © VSF. Courtesy of the Pritzker Architecture Prize  Life Insurance Corporation Housing. Image © VSF. Courtesy of the Pritzker Architecture Prize Premabhai Hall (1972) Premabhai Hall. Image © VSF. Courtesy of the Pritzker Architecture Prize  Premabhai Hall. Image © VSF. Courtesy of the Pritzker Architecture Prize  This posting includes an audio/video/photo media file: Download Now |
| New Plan for LA River Revitalizes and Connects Community Posted: 08 Mar 2018 10:00 PM PST  Courtesy of KG&A In recent years, many ambitious proposals have been brought forward to revitalize and improve the area around the Los Angeles River. The Lower Los Angeles River Revitalization Plan (LLARP), proposed by Perkins + Will Architects in conjunction with various community groups and public institutions, aims to connect residents to the river and improve the environment surrounding it.  Courtesy of KG&A The proposed plan aims to transform 19 miles of the Lower LA River. The surrounding communities have long suffered from a lack of investment and public space, as well as a polluted environment. The plan aims to solve these issues through improving access to the river, which in turn creates public space and recreational areas for the community. The area around the river becomes an environment for exploration and play, with open spaces, streetscapes and multi-use paths woven together to create a vibrant extension of the public realm.  Courtesy of KG&A Perkins+Will worked with a number of partners to create the proposal: Tetra Tech; the Working Group, consisting of the LA County and community organizations; the San Gabriel and Lower LA Rivers and Mountains Conservancy; and the LA County Department of Public Works. Concept designs have been developed for three signature open spaces and three signature design templates for infrastructure improvements. These designs aim to transform the river into a healthy, equitable, and sustainable community, as well as identifying opportunities to reduce flood risk.  Courtesy of KG&A  Courtesy of KG&A The design was developed alongside close collaboration with stakeholder and community groups. Throughout the design process, the project team conducted over 80 community and stakeholder meetings to focus design objectives on the needs of the community it would serve. Site-specific revitalization projects were identified for 155 locations throughout the river corridor, focusing on public open space and community interaction.  Courtesy of KG&A Martin Leitner, urban design leader at Perkins + Will's LA office, describes the importance of the project: "The signature projects are probably some of the largest open space opportunities that LA will ever see. Los Angeles is not about mega-projects, it is a city of diverse communities, cultures and moments. We worked with the Working Group, LA County and Tetra Tech to design concepts that serve the communities first." News via: Perkins + Will.  This posting includes an audio/video/photo media file: Download Now |
| Habitation Lecoq / Crahay & Jamaigne Posted: 08 Mar 2018 09:00 PM PST  © Laurent Brandajs
 © Laurent Brandajs Text description provided by the architects. The wood frame housing is located on the edge of subdivision. The interior levels have been studied in order to perfectly record the volume in the slight elevation of the ground.  © Laurent Brandajs The environment and sunshine induced two open facades opposed to two very closed facades. The black "planes" slid into the wood siding break down the surfaces according to the functions and accentuate the graphic side of the whole. They guide the visitor in his path and in his architectural reading.  © Laurent Brandajs  Ground Floor Plan  © Laurent Brandajs The recessed entrance and the covered terrace extend the third dimension of the outgrowth volume and the terrace.  © Laurent Brandajs The interior is standardized by a solid wood flooring. The spaces are defined by integrated white furniture and personalized by touches of solid wood and black.  © Laurent Brandajs  This posting includes an audio/video/photo media file: Download Now |
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