Arch Daily |
- Bistro EK / dekleva gregorič architects
- A New House and Studio / Anthony Carlile Architects
- Jai Jagat Theatre / SEAlab
- Hopper House / AHL architects
- O-office Discusses How Refurbishment Projects Reveal Untold Stories
- A Guide to Santiago's Modern Architecture: 20 Projects You Need to Know About
- North Face Releases a Geodesic Dome Tent Capable of Withstanding the Toughest Weather
- Yellow House / Aguilo & Pedraza Arquitectos
- 15 Bars That Combine Texture, Lighting, and Materials to Perfection
- Casa Juani / Pepe Gascón Arquitectura
- B.V. Doshi's Drawings Reveal the Identity of His Work
| Bistro EK / dekleva gregorič architects Posted: 11 Mar 2018 08:00 PM PDT  © Flavio Coddou
 © Flavio Coddou Text description provided by the architects. The empty and forgotten semi-basement space in the 19th century Ljubljana corner building, which faces the riverside and a rarely frequented stairs-street, housed diverse ventures in the past, from a local butcher shop to a wholesale wine store. Instead of a full list of technical requirements, we received our brief one Saturday morning in the form of a full course brunch, where the chef laid out the whole menu to be served in the future bistro. This delicious introduction helped us understand the identity of the food, the importance of its preparation and the complexity of the brunch ritual.  Axonometry  © Flavio Coddou Whilst discussing the food and the ingredients used, from eggs benedict to shakshuka, we conceptualised the project in relation to the menu. The food wasn't concealing the ingredients, but rather disclosed them openly, so we unveiled the space in a similarly candid way: by stripping down the walls and ceiling, we unveiled the space's history from underneath decades of plaster. The naked walls revealed memories from times past, with a mixed construction of brick and stone and brick vaults typical of ground floors in 19th-century town structures. The light fixtures are similarly pared back, with nothing but bare bulbs attached to copper wiring, which runs against the ceiling and wall, then disappears in the gap between wooden floor and brick wall.  © Flavio Coddou Custom designed white marble tables reference the traditional French bistro table in the form of a square slab supported by a wireframe of black steel bars. Their small size and shape allow for various arrangements of the seating layout, adapting to individuals, couples or private group setups. The thin black structures are also featured on the food showcase wall in the form of a spatial structure, supporting custom made terracotta bowls and flat plates that redefine generic shelves. Corten steel was used as the systemic addition to the rediscovered brick walls. It frames all the irregularities in the wall openings from the entrance door to the window openings while fully enclosing the lavatories with custom-made partition walls.  Sections  © Flavio Coddou  This posting includes an audio/video/photo media file: Download Now |
| A New House and Studio / Anthony Carlile Architects Posted: 11 Mar 2018 07:00 PM PDT  © Fernando Mañoso
 © Fernando Mañoso Text description provided by the architects. The site for the new house and studio lies at the end of a residential terrace in East London and for many years was occupied by a tumbledown brick storage warehouse and single storey garage.  © Fernando Mañoso Despite being in poor structural condition it was agreed that the brick warehouse was an attractive and charismatic part of the street and the new building was created around as much of this as could be saved. A new slab was cast inside to increase the ceiling height, a new studio was added to the west, new living accommodation was tied in and around the retained facade, original walls were re-built and the whole was re-roofed and upgraded to modern standards.  Floor Plans The site is surrounded at the rear by neighbouring gardens and one of the main challenges was to bring daylight deep into the building, particularly at ground level where there could be no openings in three of the four elevations.  Courtesy of Anthony Carlile Architects Part of the solution was to provide the staircase with large, first-floor windows to bring light down to the spaces below. The open-plan arrangement that allowed this to work was made possible by using fire-rated roof lights which removed the need to enclose the stair.  Sections The large windows also make it is possible to see right through the building and create a minimal connection between the new studio and the existing warehouse.  © Fernando Mañoso The plan of the building is simple and flexible with storage and utility spaces integrated around the stair. Each of the main rooms has more than one source of sunlight and despite the constrained location, the spaces are light. Large gates give flexible access from the street and the studio looks out onto a new courtyard garden with two new blossoming apple trees.  Courtesy of Anthony Carlile Architects  This posting includes an audio/video/photo media file: Download Now |
| Posted: 11 Mar 2018 05:00 PM PDT  © Dhrupad Shukla
 © Dhrupad Shukla Text description provided by the architects. Jai Jagat theatre construction was envisioned as part of the celebration for the 100 years of Sabarmati Ashram. It was in 1917 that Gandhiji decided to establish his community living here, near the river Sabarmati, between a prison and a crematorium. Since then that Gandhiji's strong vision on education was practiced at the Ashram - to develop body, mind, and spirit. The 1500 children that today live or study at Sabarmati Ashram are still taught with the same philosophy.  Floor plan Jai Jagat theatre is part of this education philosophy; it provides the students with an opportunity to practice their performance skills, to gain confidence while addressing the public, to work in a group, to be disciplined and to have fun. Together with children from the nearby communities, the students of Sabarmati Ashram no longer have to travel to far places of the city to rehearse their plays. Jai Jagat theatre is now the place where they practice their performances, do group exercises, or play games. It is a place for expression. It is a landmark for an education that is "an all-round drawing of the best in child and man in body, mind, and spirit" (Gandhiji)  © Dhrupad Shukla The site where the amphitheater stands is marked by high neem trees and simple grounded buildings. One of these buildings is the Montessori school. This school was established at the Sabarmati ashram around 1936, after Gandhiji met Madam Montessori at London in 1931. He was impressed by her education method (child-oriented and focused on the development of the whole child) and decided to implement it at the ashram. The school worked for many years and it was recently converted to studios for arts' education. The trees that surround the building provide shade to the area and house an incredible variety of birds and other animals, creating a very special and peaceful environment.  © Dhrupad Shukla The architecture of the amphitheater (located next to the Montessori school) aims to maintain the spirit of this place. From outside, the theatre is just a simple white wall with a modest humane scale. The route until this point is made through a brick pathway, designed below the existing trees and connecting other buildings of the ashram, as a library and a school. Along the pathway, the different niches invite people to sit and observe the nature. Bigger spaces with seating areas welcome small gatherings or a pause for eating together. This path slowly transforms into a larger area, a plaza, that anticipates the amphitheater and that becomes a foyer, a space for events or for informal rehearsals. The entry to the theatre is done through a gap between two moments of the wall and a ramp leads us down to the center of the space. With a movement of a spiral, this wall unfolds and surrounds the stage and the audience, placed at a level below ground. The surrounding trees and elements, like the school or a high water tank, are still present in the interior of the theatre because the wall that contains the space undulates and opens up to create points of view towards the outside. The wall has different moments and openings, it is fun, interactive and at the scale of the children. It was thought to participate and enhance the plays, to be part of the scenario and to provide different points of entry and exit to the shows (a Juliet balcony, stairs or an opening). But it is also modest and silent, and therefore can be used as a place to meet, to talk or to just be alone.  © Dhrupad Shukla To maintain the serenity of the place and to not compete with the surrounding buildings, the amphitheater was designed half below ground (1,83 m), the same dimension of the exterior wall height. Because it is buried and located in the lowest level of the site, a tank with the capacity to harvest 70 000 liters of rainwater was designed below the stage. The water collected during the monsoon will be used to irrigate the many indigenous trees that were planted in the area that surrounds the theatre.  Concept  Courtesy of SEAlab Jai Jagat theatre was inaugurated on 2nd October 2017 (Gandhiji's birthday) with a performance about the life of Gandhi, by children from Sabarmati Ashram and the neighboring communities. Three hundred people (the capacity of the amphitheater) enjoyed the show and space. It was a wonderful moment, full of joy. After the show, the children danced and celebrated on the stage. The audience slowly exited the theatre through the ramp and strolled the pathways, gathering on the seating areas, remembering the show, and enjoying this peaceful moment at Sabarmati Ashram.  © Dhrupad Shukla  This posting includes an audio/video/photo media file: Download Now |
| Posted: 11 Mar 2018 01:00 PM PDT  © HoangLe Photography
 © HoangLe Photography  © HoangLe Photography Text description provided by the architects. Hopper House brings not only cultural familiar details of traditional Northern House of Vietnam but also a big surprise in this structure itself. We felt excited when we incidentally observed the emotions of the neighbors toward the House during construction time which lasted 7 months. In the first 3 months, they passed through, glanced at the House and kept going. The next 3 months, they passed through, took a look for a moment and kept going...  © HoangLe Photography  Section  © HoangLe Photography The final month, they came into the House, they were inspired by the structure of Hopper House. One said: "From outside, I had a very familiar feeling just like in my hometown. Nevertheless, right after passing by the front door, I was amazed by creative variation and visualization of the very familiar structure". The large yard and all the few-decade-year old trees of the existing house are kept unchanged which helps keep maximum privacy for the open space inside.  © HoangLe Photography Patios, thresholds, inner yards, roofs, proportions are precious "components" selected from tradition to totally match with the contemporary space of the Hopper House. We did not copy those "components" for Hopper House, we used them as inputs to analyze, arrange and create the design of space and function of the House. We endeavor to best retain urban space, existing perennial trees for Hopper House in an area crowded with rental apartment buildings, complexes…  © HoangLe Photography  This posting includes an audio/video/photo media file: Download Now |
| O-office Discusses How Refurbishment Projects Reveal Untold Stories Posted: 11 Mar 2018 12:00 PM PDT  SZ-HK Biennale-Silo Reconversion. Image© O-office & Maurer United Guangzhou-based multidisciplinary firm O-office Architects specializes in refurbishment projects. Founders Jianxiang He and Ying Jiang are known for exploring what architecture can do within the contemporary Chinese context, including a recent project in which they transformed an abandoned Shenzhen factory into a dynamic cultural and community center. In this interview with ArchDaily, the founders of O-office speak about their philosophies regarding refurbishments and the current state of architecture in China.  Silo-top Studio. Image© Likyfoto ArchDaily: A lot of your design work, including your own studio, consists of refurbishments of existing buildings--usually industrial buildings, in fact. What is it that attracts you to refurbishment work? O-office: For the past five years, our practice at O-office involved a number of refurbishment projects. This stems from our interest in the city's historic past and creating a dialogue between the past and present in this urban context. We are passionate about city dwellers and the built environment they interact with on a daily basis and we want to work together with people to create a continuous narrative for the city. Many of the existing structures we have renovated were disused or empty, and yet they offer greater possibilities than a blank slate could. They are capable of revealing untold stories.  Silo-top Studio. Image© Likyfoto ArchDaily: What is your philosophy with regards to altering and caring for existing buildings? O-office: The study of regional cultures and various ways of living are the primary processes that inform our design of architecture and space. Through the innovative use of space and material, we intend to "reweave" the urban fabric so as to reinvigorate urban life. Our design decisions are founded upon critical observation and in-depth research on the city's socio-economic conditions. When working on a refurbishment project, it is exceptionally uplifting to discover the inherent spiritual qualities of space that were previously obscured by its material appearance. We expose these qualities and further enhance them. This process of investigation and discovery is executed differently in every project, allowing us to develop unique concepts and strategies to treat the space. We embrace diversities and challenges at O-office. .jpg?1519911838 "iD Town. Image© Laurian Ghinitoiu") iD Town. Image© Laurian Ghinitoiu .jpg?1519911849 "iD Town . Image© Chaos.Z") iD Town . Image© Chaos.Z ArchDaily: Do you think that working in China has played a factor in the work you do in refurbishment architecture? O-office: Urbanization in China is unique for its pace, scale, and fragmentation of non-industrial areas. All of our refurbishment projects were confronted with many uncertainties, due to incomplete archives of architectural history, and the unpredictable future of other external factors. There is a sense of unsettlement in the cities. Currently in China, economic growth is the fundamental force of urban development. The city regeneration plans will catalyze more changes in the built environment, adding to this sense of unsettlement. In response to the above circumstances, we do not race at the speed of urbanization to integrate the existing industrial architecture fully into the urban fabric. Rather, the renovated project is designed to set itself away from its surroundings; inconspicuously, it maintains a critical distance from the rest and allows for a refreshing narrative of the urban space. The old structure takes on a new life, represents the cultural identity of a specific place and time, and promotes cultural changes in neighboring cities. Methodologically, we aim to use the opportunity of introducing new programs in an abandoned, vacant building, to construct a more pragmatic narrative of the renovated space, and, ultimately, to curate the knowledge of architecture and space.  Stone Art Gallery. Image© Likyfoto ArchDaily: What do you think of the development of Chinese cities more generally? O-office: Urbanization is shaped uniquely by the laws and regulations of each country. Looking back at decades of rapid urban growth in Chinese cities, we have not seen many effective planning and design solutions. There are, however, a small amount of rare and inspirational cases. We believe the key to a successful urban development in the future is to transform the preconception of the city as an end product of economic growth and technological advancement. Instead, we should conceive the city as a much broader yet integrated cultural subject.  Stone Art Gallery. Image© Likyfoto ArchDaily: Is there a particular type of building that you think would be the most exciting to refurbish? O-office: There are two types: The first being the unconventional structures, such as large industrial plants like silos; the second being projects that are concerned with forward-thinking topics such as collective living, and urban hybridity. .jpg?1519911743 "SZ-HK Biennale-Silo Reconversion. Image© O-office & Maurer United") SZ-HK Biennale-Silo Reconversion. Image© O-office & Maurer United ArchDaily: What is your dream refurbishment project? O-office: The ideal refurbishment should be capable of providing tangible experience of utopian visions.  Work-Studio in a Plant-House . Image© Likyfoto  This posting includes an audio/video/photo media file: Download Now |
| A Guide to Santiago's Modern Architecture: 20 Projects You Need to Know About Posted: 11 Mar 2018 09:00 AM PDT  Villa Olímpica / Rodolfo Bravo + Jorge Poblete + Ricardo Carvallo + Pablo Hegedus, Julio Mardones + Gonzalo Mardones + Sergio González. Image © María González The modern movement was a key player in the cultural construction of Chile in the 20th century. Although the first projects came from the private sector, their urban and landscape principles were adopted by the modernizing project of the welfare state that began to be built after the social conflicts that exploded in the 1920s. During chile's industrialization process, the State's housing construction incorporated concepts such as liveability, and universal access to housing and sanitation, which were put to the test early on in the reconstruction of cities such as Chillán after the 1939 earthquake. As Chile is a country that is familiar with earthquakes, it was necessary to readjust the concepts of the modern movement to national structural requirements, that is, resizing the reinforced concrete sections, which gave them a heavier visual expression than in Brazil or Argentina. From the daring vision of Sergio Larraín García-Moreno and Jorge Arteaga in the Oberpaur building - the first of the modern movement - to the urban visions of BVCH in the Villa Portales, or the first exercises in height in the upper middle class sectors, the modern movement has left its mark on our society and in our cities. However, only one of the projects presented here is declared a historical monument. In this edition of the architectural guides, we present you twenty chronologically ordered projects that reflect the evolution of the modern movement in Santiago, Chile. Oberpaur Building / Sergio Larraín García-Moreno + Jorge Arteaga Oberpaur Building / Sergio Larraín García-Moreno + Jorge Arteaga. Image © Alex Rojas Its completely continuous horizontal spaces and its open plan demonstrated the power of reinforced concrete, making this the first project of the modern movement in Chile. However, society's reaction was not as expected: in a conversation with Teresa de Lima Campos and Humberto Eliash in 1982, Sergio Larraín recalled: "I was insulted on the street, they would say to me "with the traditions that you have, of having had a good education, to have been in Europe, then you bring these dreadful things here." In 2015, Maximiano Atria, the secretary general of Docomomo, warned in the national press that "by not being protected, it is subject to the decisions of its owner, being located in an area with high added value, one where we have already begun to see demolitions to build highrises." Year: 1929 The Boat Building / Sergio Larraín García-Moreno The Boat Building / Sergio Larraín García-Moreno. Image © Manuel Albornoz Year: 1932-1934 Plaza de Armas Building / Sergio Larraín García-Moreno + Emilio Duhart + Jaime Sanfuentes + Osvaldo Larraín + Juan Larraín![Plaza de Armas Building / Sergio Larraín García-Moreno + Emilio Duhart + Jaime Sanfuentes + Osvaldo Larraín + Juan Larraín. Image © Santiago Nostálgico [Flickr], bajo licencia CC BY-ND 2.0](https://images.adsttc.com/media/images/59b9/44ef/b22e/38f3/4700/0022/medium_jpg/Plaza_de_Armas.jpg?1505314029 "Plaza de Armas Building / Sergio Larraín García-Moreno + Emilio Duhart + Jaime Sanfuentes + Osvaldo Larraín + Juan Larraín. Image © Santiago Nostálgico [Flickr], bajo licencia CC BY-ND 2.0") Plaza de Armas Building / Sergio Larraín García-Moreno + Emilio Duhart + Jaime Sanfuentes + Osvaldo Larraín + Juan Larraín. Image © Santiago Nostálgico [Flickr], bajo licencia CC BY-ND 2.0 During the 1950s, in Santiago's center, buildings were constructed to fill up spaces, generating a single large volume, with interior yards filled with light that were joined with their neighbors through a continuous facade and height. A group of five architects with postgraduate degrees from the United States were commissioned to build in an area adjacent to the Plaza de Armas by businessman Jorqe Sarquís. The architects -with fresh ideas after their years in the United States- "devoted a great amount of effort to convince [Jorge Sarquís] to accept a different model", as Armando Caroca recalls in "The Traces of Time: Entropy and Transformation in the Plaza de Armas Building of Santiago." The Plaza de Armas Building became the first example of tower-plate typology in Chile, replicating the logic of residential vertical volume and the horizontal commercial plate. Year: 1954 Carozzi Industrial Complex / Emilio Duhart + Luis Mitrovic![The Carozzi Industrial Complex / Emilio Duhart + Luis Mitrovic. Image © Warko [Wikimedia Commons], bajo licencia <a href="http://creativecommons.org/licenses/by-sa/3.0" title="Creative Commons Attribution-Share Alike 3.0">CC BY-SA 3.0</a>](https://images.adsttc.com/media/images/59b9/9ee0/b22e/38f3/4700/009b/medium_jpg/Complejo_Industrial_Carozzi.jpg?1505337053 "The Carozzi Industrial Complex / Emilio Duhart + Luis Mitrovic. Image © Warko [Wikimedia Commons], bajo licencia <a href=\"http://creativecommons.org/licenses/by-sa/3.0\" title=\"Creative Commons Attribution-Share Alike 3.0\">CC BY-SA 3.0</a>") The Carozzi Industrial Complex / Emilio Duhart + Luis Mitrovic. Image © Warko [Wikimedia Commons], bajo licencia <a href="http://creativecommons.org/licenses/by-sa/3.0" title="Creative Commons Attribution-Share Alike 3.0">CC BY-SA 3.0</a> Year: 1961 República Remodelling / Vicente Bruna + Germán Wijnant + Víctor Calvo + Jaime Perelman + Orlando Sepúlveda República Remodelling / Vicente Bruna + Germán Wijnant + Víctor Calvo + Jaime Perelman + Orlando Sepúlveda. Image © María González Year: 1957-1963 Reval Building / Jorge Aguirre + Rafael Saavedra + Guillermo Geisse Reval Building / Jorge Aguirre + Rafael Saavedra + Guillermo Geisse. Image © Manuel Albornoz One of the most radical formal proposals along Alameda (Santiago's main street) is this cylindrical building, which ensures its absolute independence from its neighbors. Accompanied at the first-floor level by a commercial space, the 13-story tower (originally destined as a living space) occupies a privileged place in the city's center, located next to the University of Chile's main house and the palace of La Moneda. Its unique shape remains a point of reference, and the simplicity of its aluminum façade resists with dignity the passage of time, despite the profusion of air conditioning boxes that invade it. Year: 1963 Villa Olímpica / Rodolfo Bravo + Jorge Poblete + Ricardo Carvallo + Pablo Hegedus, Julio Mardones + Gonzalo Mardones + Sergio González Villa Olímpica / Rodolfo Bravo + Jorge Poblete + Ricardo Carvallo + Pablo Hegedus, Julio Mardones + Gonzalo Mardones + Sergio González. Image © María González The Exequiel González Cortés Neighborhood Unit, better known as Villa Olímpica, was built between 1960 and 1963 to celebrate the 1962 World Cup. It is composed of 23 two-story blocks, 32 four-story blocks, 48 blocks of five stories, and a tower of fifteen floors for a total of 2,601 homes. The blocks are arranged in macro-blocks forming central squares destined for recreation. Year: 1961-1964 Huérfanos 1373 / Jaime Larraín + Osvaldo Larraín + Roberto Muller + Jaime Rodríguez Huérfanos 1373 / Jaime Larraín + Osvaldo Larraín + Roberto Muller + Jaime Rodríguez. Image © María González Year: 1964 The Lido Parking Building / Jaime Larraín + Osvaldo Larraín The Lido Parking Building / Jaime Larraín + Osvaldo Larraín. Image © Manuel Albornoz Nine floors plus three underground levels make for a total of 252 parking spaces. The facade is detailed with a prefabricated concrete module coated in lead-colored micro ceramics. Puyta plastic composition. The constructive system is very similar to that of fabric, where the point is interlocked to form the fabric, entering and exiting to produce the tie, giving it body and thickness, which runs vertically through the building. Year: 1964 The Benedictine Monastery Chapel / Gabriel Guarda + Martín Correa The Benedictine Monastery Chapel / Gabriel Guarda + Martín Correa. Image © Rubén Muñoz Year: 1964 CEPAL / Emilio Duhart CEPAL / Emilio Duhart. Image © María González Year: 1966 Tajamar Towers / Luis Prieto Vial + BVCH![Tajamar Tower / Luis Prieto Vial + BVCH. Image © Leonardo Benavente [Flickr], bajo licencia <a href='https://creativecommons.org/licenses/by-nc-nd/2.0/'>CC BY-NC-ND 2.0</a>](https://images.adsttc.com/media/images/59b9/4bd0/b22e/382c/0000/004f/medium_jpg/13670187903_4d606e16aa_o.jpg?1505315786 "Tajamar Tower / Luis Prieto Vial + BVCH. Image © Leonardo Benavente [Flickr], bajo licencia <a href='https://creativecommons.org/licenses/by-nc-nd/2.0/'>CC BY-NC-ND 2.0</a>") Tajamar Tower / Luis Prieto Vial + BVCH. Image © Leonardo Benavente [Flickr], bajo licencia <a href='https://creativecommons.org/licenses/by-nc-nd/2.0/'>CC BY-NC-ND 2.0</a> Year: 1967 University Unit UTE (currently USACH) / BVCHYear: 1957-1967 Portales Neighbourhood Unit / BVCH Portales Neighbourhood Unit / BVCH. Image © María González This building emerged in 1952 as part of a project by the Private Employees Pension Fund which invested surplus earnings into housing for its owners, becoming the first experimental neighborhood unit in Santiago. Popularly known as Villa Portales, the 31-hectare project consisted of large blocks of houses arranged parallel and perpendicularly, which generated large gaps between each block of houses, representing traditional city blocks in an abstract way. 1,860 homes were proposed and distributed in one or two-story houses, and single and duplex apartments in buildings that range between five and seven floors. The decision to include houses was used as a strategy to mediate the scale between the large blocks and green spaces, allowing them to reach the required densities. From an urban point of view, it was proposed that the blocks and houses be placed on a green surface that would function as the horizontal extension of the Quinta Normal park. A change in legislation during the government of Jorge Alessandri (1958-1964) limited the resources allocated to housing, which resulted in the discontinuity of footbridges, problems in the completion of facades, and the decision to cancel the construction of a set of collective facilities, which included offices, a commercial pergola, a market, a school, a church, a theater and a casino. Year: 1954-1968 Villa Frei / Jaime Larraín + Osvaldo Larraín + Diego Balmaceda![Carolina Olmedo Carrasco [Wikimedia Commons], bajo licencia <a href="http://creativecommons.org/licenses/by-sa/3.0">CC BY-SA 3.0</a>. ImageVilla Frei / Jaime Larraín + Osvaldo Larraín + Diego Balmaceda](https://images.adsttc.com/media/images/59ba/9f41/b22e/3813/9f00/0010/medium_jpg/Villa_Frei.jpg?1505402676 "Carolina Olmedo Carrasco [Wikimedia Commons], bajo licencia <a href=\"http://creativecommons.org/licenses/by-sa/3.0\">CC BY-SA 3.0</a>. ImageVilla Frei / Jaime Larraín + Osvaldo Larraín + Diego Balmaceda") Carolina Olmedo Carrasco [Wikimedia Commons], bajo licencia <a href="http://creativecommons.org/licenses/by-sa/3.0">CC BY-SA 3.0</a>. ImageVilla Frei / Jaime Larraín + Osvaldo Larraín + Diego Balmaceda Year: 1965-1968 Providencia Neighbourhood Unit / Carlos Barella Iriarte + Isaac Eskenazi Providencia Neighbourhood Unit / Carlos Barella Iriarte + Isaac Eskenazi. Image © María González Year: 1957-1968 Pedro de Valdivia Building / Eduardo Cuevas Valdés + Pedro Murtinho + Carlos Silva Anguita + Héctor Durán Ortiz de Zarate + José García Huidobro + Juan Casanova Pedro de Valdivia Building / Eduardo Cuevas Valdés + Pedro Murtinho + Carlos Silva Anguita + Héctor Durán Ortiz de Zarate + José García Huidobro + Juan Casanova. Image © Manuel Albornoz Year: 1965-1971 San Borja Remodelling / BVCH San Borja Remodelling / BVCH. Image © Bruno Giliberto Year: 1969-1974 Central Post Office Building / Boris Guiñeman + Carlos Bresciani Central Post Office Building / Boris Guiñeman. Image via Google Street View Year: 1970-1974 National Institute / José Llambías Merchant Simón González B., under licence <a href="http://www.gnu.org/copyleft/fdl.html">GFDL</a>. ImageInstituto Nacional / José Llambías Merchant Year: 1960-1977 References
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| North Face Releases a Geodesic Dome Tent Capable of Withstanding the Toughest Weather Posted: 11 Mar 2018 07:00 AM PDT  via North Face Reinterpreting the teachings of Buckminster Fuller, North Face have announced the latest tent in their collection; a geodesic dome tent. Thanks to the most spatially efficient shape in architecture, it can withstand winds of up to 60 mph as the force is spread evenly across the structure whilst even providing enough height for a six-foot person to stand comfortably inside. The extremely efficient design has allowed the tent to weigh not much more than 11kg and comprise of 5 main poles and the equator for fast and easy assembly and storage. The outdoor gear company has also considered a water-resistant dual-layered exterior skin for their incredibly strong and sturdy tent to endure whatever mother nature has to throw at it.  via North Face  via North Face The 230x210cm interior of the tent offers much more space than its similarly sized competitors, the shelter easily provides room for four people to sleep with copious amounts left over for storage, including internal hangers. However, as with most good things in life, this unique tent comes with a slight catch; it costs an extortionate $1,635 and is only available in Japan. Fingers crossed we will be seeing it over here soon – and at a more economically friendly price!  via North Face News via: Goldwin.  This posting includes an audio/video/photo media file: Download Now |
| Yellow House / Aguilo & Pedraza Arquitectos Posted: 11 Mar 2018 06:00 AM PDT  © Nico Saieh
 © Nico Saieh Text description provided by the architects. The assignment consisted in designing a beach house in the town of Zapallar. The site is far from the sea in the eastern urban boundary. The sloping terrain makes the views towards the sea be preceded by roofs, streets, trees and hills. This quality of urban view with the sea in the background was what inspired the main operation of the project. We chose to build in height and take advantage of the described views. There are 3 small overlapped levels plus the roof. The bedrooms are located in the first two levels and in the third level the main room. Finally, an exterior deck in the rooftop.  © Nico Saieh  © Nico Saieh Two types of paths are proposed. Two exterior ramps connect the second and third floor with the public side of the southern boundary of the site. This way it responds to one of the main demands of the client that was to connect the levels without steps enabling the use of a wheelchair. Finally, a system of internal stairs plus an external staircase connect all the levels.  Plans  © Nico Saieh The choice of the exterior material and its color respond to a nostalgic interest in the historical construction of the coastline. There were many houses that at the beginning of the last century, especially in Valparaíso, occupied metallic coatings in bright colors. It is this collective memory that builds the imaginary of the project. Perhaps this choice of material and its color was more visceral than rational.  Elevations  © Nico Saieh  This posting includes an audio/video/photo media file: Download Now |
| 15 Bars That Combine Texture, Lighting, and Materials to Perfection Posted: 11 Mar 2018 05:00 AM PDT  © Yann Deret Bars are the perfect meeting place to finish the day in the company of friends and a few drinks. The relaxed atmosphere and lighting allow intimate discussions around tables, while the social butterflies can instead meet around the focal element of the space, the bar. Andrew PogueJack Daniel’s Barrel House 1-14 / Clickspring Design © Andrew Pogue David SchreyerArcheology in a Jazz Club / Büro KLK © David Schreyer Frank HerfortHoly Fox Café / Mikhail Kozlov © Frank Herfort Hou de SousaDim Sum Bar / Hou de Sousa Cortesía de Hou de Sousa studiovd.grBlack Drop Coffee Shop / ark4lab of Architecture © studiovd.gr Imagen Subliminal12,000 Pink-Painted Wooden Sticks / Ideo arquitectura © Imagen Subliminal Serena Eller VanicherBe.Re / Filippo Bombace © Serena Eller Vanicher Dick LiuNOC Coffee Co. / Studio Adjective © Dick Liu Yann DeretWhisky Bar / jbmn architectes © Yann Deret João Tiago Aguiar ArquitectosRestaurant 560 / João Tiago Aguiar Arquitectos Cortesía de João Tiago Aguiar Arquitectos Yuri PalminIskra / Nowdays office © Yuri Palmin Robot 3 StudioIdeal Space / Robot 3 © Robot 3 Studio Jonathan LeijonhufvudLIEVITO - Gourmet Pizza and Bar / MDDM STUDIO © Jonathan Leijonhufvud Jonathan Friedman / PartisansBar Raval / Partisans © Jonathan Friedman / Partisans Denilson Machado / MCANosotros Bar / Studio Otto Felix © Denilson Machado / MCA  This posting includes an audio/video/photo media file: Download Now |
| Casa Juani / Pepe Gascón Arquitectura Posted: 11 Mar 2018 01:00 AM PST  © Aitor Estévez
 © Aitor Estévez Text description provided by the architects. The project involved the design and construction of a suburban detached home, located on a square 600 m2 plot.  © Aitor Estévez In general terms, the residential development where the house is located is made up of plots with a considerable level of occupancy and development potential, with minimum spacings between neighbouring plots that are not overly generous.  © Aitor Estévez This results from the fact that the residential fabric is less spaced out than we had initially hoped, and so a home was planned with an emphasis on preserving its privacy from neighbouring homes.  © Aitor Estévez To that end, a U-shaped house was designed, placed as close to the western boundary as permitted by building regulations. There are two stories on this side which are mainly closed in, offsetting the presence of the neighbouring property.  Ground Floor Plan On the opposite boundary, to the east, the distance to the neighbouring property is greater, resulting in a single-storey structure housing the bedrooms. The neighbouring property impacts on this side of the property to a lesser degree than on the opposite side.  © Aitor Estévez The short side of the "U" acts as a coordinating element between the entrance and access to the home, and for the building's horizontal routes. This wing has a porch that directly connects the sunny outside garden area, which contains a swimming pool, to the living room.  © Aitor Estévez A mainly shady rear patio is located between the long sides of the "U". This patio is intimately connected to the kitchen and living room, as well as to access to the house and its interior routes.  © Aitor Estévez The intended kitchen and living room space is double height, with an open and airy study on the first floor. The whole house features the same exposed ceramic brick.  © Aitor Estévez  This posting includes an audio/video/photo media file: Download Now |
| B.V. Doshi's Drawings Reveal the Identity of His Work Posted: 11 Mar 2018 12:00 AM PST .jpg?1520547289 "Concept Drawing for Vidhyadhar Nagar Masterplan . Image Courtesy of Pritzker Architecture Prize") Concept Drawing for Vidhyadhar Nagar Masterplan . Image Courtesy of Pritzker Architecture Prize Balkrishna Doshi, also known as B.V. Doshi or simply Doshi, has been named this year's Pritzker Prize Laureate. His extensive portfolio of educational, cultural, public administration, and residential projects is matched only by his contribution to architectural culture—from founding The School of Architecture at Ahmedabad (now known as the Centre for Environmental Planning and Technology) to co-authoring the Habitat Bill of Rights, among others. Yet, his vividly illustrated conceptual drawings reveal as much, if not more, of the architect's relationship with building, history, tradition, culture, and modernism. From the concept study for the vaulted canopies of the Sangath Studio to the Vidhyadhar Nagar Masterplan, Doshi's graphic images appear to filter modernist ideals through the lens of his native India. These Purist-like drawings, recalling his time spent in the office of Le Corbusier and their later collaborations, mix with the narrativity, symbolism, and vibrancy of Mughal miniature paintings. In the concept drawing for the Aranya Social Housing project, the historic depiction of fables is adapted into a shifting axonometric streetscape of vendors, vehicles, and public life—a negotiation between modernity and tradition echoed in Doshi's architecture. These drawings not only speak to the qualities embodied in his architecture, but in the architect himself.  Concept Drawing of Sangath Studio. Image Courtesy of Pritzker Architecture Prize  Section Sketch of Sangath Studio. Image Courtesy of Pritzker Architecture Prize  Concept Drawing for Aranya Social Housing. Image Courtesy of Pritzker Architecture Prize  Sketch of Aranya Social Housing. Image Courtesy of Pritzker Architecture Prize  Elevation of Aranya Social Housing. Image Courtesy of Pritzker Architecture Prize  Sketch of CEPT. Image Courtesy of Pritzker Architecture Prize  Sketch of CEPT. Image Courtesy of Pritzker Architecture Prize  Sketch of Premabhai Hall. Image Courtesy of Pritzker Architecture Prize  Sketch of Indian Institute of Management, Bangalore. Image Courtesy of Pritzker Architecture Prize
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