Arch Daily |
- San Mateo Housing Reconstruction / MCEA | ARQUITECTURA + NAOS 04 ARQUITECTOS
- Butterfly House / Biasol
- L20 House / OLARQ Osvaldo Luppi Architects
- System Warehouse / Mehran Khoshroo-olgooco
- Village as Kitchen of UABB / ZHOU Wei + ZHANG Bin / Atelier Z+
- Whitesands / PDP London Architects
- July / Mur Mur Lab
- Old Be-al House / FMD Architects
- Atenea Building / K+M Arquitectura y Urbanismo
- New Images of MAD's "Spaceship" Lucas Museum Released as Construction Breaks Ground in Los Angeles
- Lake Waconia House / ALTUS Architecture + Design
- BIG Unveils Bow-Shaped Design for National Theatre of Albania
- H Residence / Lucas y Hernández – Gil
- Four Finalists Selected in the 2018 MCHAP Awards for Emerging Architecture
- How to Celebrate New Architecture: Shaping Identity with Spectacular Opening Ceremonies
- Primary School in Loiano / Studio Contini
- Power on Campus - Harvard Energy Facility Showcases the Beauty of Infrastructure
- New Tower Typology Uses Steel Cables to Wrap Itself Together
- 36 Residential Units / EDDEA Arquitectura y Urbanismo
| San Mateo Housing Reconstruction / MCEA | ARQUITECTURA + NAOS 04 ARQUITECTOS Posted: 15 Mar 2018 10:00 PM PDT  © David Frutos
 © David Frutos Text description provided by the architects. The old residential building of San Mateo was among the most iconic structures of the city of Lorca, due to its unusual configuration with a central space opening onto Juan Carlos I Avenue. Having sustained serious damage during the earthquake of May 11th, 2011, its complete demolition was undertaken a month later.  © David Frutos In October 2011, the building’s Community of Owners announced a competition of ideas to select the most appropriate project for the reconstruction of their homes. The contest guidelines made special mention of the need for design projects to establish a structure of ownership reflecting that of the original building, so that each of the owners could regain the position they had previously occupied in the complex.  © David Frutos The proposal submitted by MCEA | ARQUITECTURA and NAOS 04 ARQUITECTOS envisioned the architectural project as an instrument capable of making reconstruction viable through achieving the necessary consensus of all owners within the building. Thus it was seen as essential to incorporate into the draft process the experiences and different ways of living that each of the owners had developed over time, so that the reconstruction and occupation of new homes could be made the least traumatic possible. Similarly, owners were also given the opportunity to incorporate into the project their current and future needs, through the design of flexible layouts that led in many cases to the availability of either new a single dwelling or two smaller ones.  © David Frutos  Floor Plan 01  © David Frutos This participatory process, in which all owners were individually involved with the design team, consisted primarily of the following phases: 1. In the first phase the needs of each individual owner were defined by filling out detailed forms reflecting all the proposals and comments which they considered relevant.  © David Frutos 2. In the second phase of work a process of designing housing typologies was undertaken, one which embraced all proposals for distribution received in the first phase.  © David Frutos 3. A third phase of work was then developed in which each of the owners were given the different typologies defined on the vertical of their home, in order to select the one which best suited their needs and finally to introduce those specific changes considered opportune by each owner.  © David Frutos The end result of this participatory process was reflected in the final draft, which included 45 different dwelling typologies, thus achieving the acceptance of, and identification with, owners in the jointly developed project.  Section This process, which incorporated the willingness of each individual owner to contribute to the ordering and management of the whole group of dwellings, also sought to reflect a similar ethos in the design of the façade, through a general system of shutters in which the individual of owners could change the overall composition, thus obtaining an image of the building in constant flux and adaption to the needs of the individuals therein.  © David Frutos  This posting includes an audio/video/photo media file: Download Now |
| Posted: 15 Mar 2018 08:00 PM PDT  Courtesy of Biasol
 Courtesy of Biasol Text description provided by the architects. Sunlight is transformative. It has the ability to change the experience of a space, as well as how we live, feel and relate to one another. We brought our Australian affinity for natural light and open-plan living to Butterfly House, an East London townhouse, while retaining its classic English details and sentiment.  Courtesy of Biasol The 90-square-metre home is located on a prominent block in East London, a post-industrial area that has been transformed by vibrant creative and innovative communities and boutique stores and galleries. Like many traditional English townhouses, it was dark and cramped due to small, constrained rooms and adjoining neighbours. The client tasked Biasol with breathing new life into the dated building to create a contemporary home for a young, modern couple and their future family. Now transformed, the townhouse has open-plan living, dining and kitchen on the first floor, and two bedrooms and bathrooms on the second floor.  Floor Plan We removed the walls on the first floor allowing for an open and light-filled living, dining and kitchen area. Drawing on our product design background, we custom designed the freestanding modular kitchen units to make the room feel like an extension of the living and dining area. The low-line joinery creates a greater sense of space; removal of upper cabinetry allows for unobstructed sight lines; and integrated appliances give a smart look and feel. Navy-blue joinery with white and dark marble is modern, elegant and accented with brass, and the existing floorboards and fireplace mouldings retain the townhouse's classic English character.  Courtesy of Biasol In the bedrooms and bathrooms, we accentuated the distinctive butterfly roof, for which the house is named, and installed new skylights to increase natural light. The bathrooms, like the kitchen, have navy-blue freestanding units designed by Biasol. Herringbone marble tiles clad the walls and evoke traditional English style, while brass tapware is imported from Australia.  Courtesy of Biasol Butterfly House, like the butterfly, now basks in the sun. By maximising natural light, our design for this formerly dark East London townhouse has captured the energy sunlight can bring to a space and thereby enhancing family relationships and wellbeing.  Courtesy of Biasol  This posting includes an audio/video/photo media file: Download Now |
| L20 House / OLARQ Osvaldo Luppi Architects Posted: 15 Mar 2018 07:00 PM PDT .jpg?1520398191 "© Mauricio Fuertes") © Mauricio Fuertes
.jpg?1520398326 "© Mauricio Fuertes") © Mauricio Fuertes Text description provided by the architects. Set in a square plot, this project is defined by two compact wings overlooking the garden. The house is organized around two compact wings which are very compact and closed to the outside, but very open to the interior of the site. .jpg?1520398126 "© Mauricio Fuertes") © Mauricio Fuertes .jpg?1520393610 "Ground Floor Plan") Ground Floor Plan .jpg?1520398250 "© Mauricio Fuertes") © Mauricio Fuertes A single-story body facing eastwards hosts the main entrance, the living-room, and the master bedroom. These spaces open to the interior of the site and organize the outdoor spaces through terraces and platforms until they reach the pool on the eastern side. .jpg?1520398208 "© Mauricio Fuertes") © Mauricio Fuertes A second two-story body running east to west hosts the kitchen and the dining room on the ground floor and connects the first-floor bedroom area with the garage and the swimming pool terrace. An impressive double-height space works as a joint between both wings. .jpg?1520398239 "© Mauricio Fuertes") © Mauricio Fuertes .jpg?1520393637 "Section 2") Section 2 .jpg?1520398371 "© Mauricio Fuertes") © Mauricio Fuertes  This posting includes an audio/video/photo media file: Download Now |
| System Warehouse / Mehran Khoshroo-olgooco Posted: 15 Mar 2018 05:00 PM PDT  © Mohammad Hasan Ettefagh
 © Mohammad Hasan Ettefagh Text description provided by the architects. This project is somehow a re-imagination of a prevalent industrial diagram: juxtaposing a warehouse and its administration building in a local norm steel structure.  Diagram Bringing to life the vast, but seldom perambulated area of the warehouse, and upholding its efficiency were taken into consideration. Thus it became clear that the most important matter was to avoid typical solutions, similar to the other structures in the surrounding area.  © Mohammad Hasan Ettefagh Designing a white cocoon on the whole structure was a starting point for a metamorphosis of the primary structure to make a uniform expression of a dynamic form.  © Mohammad Hasan Ettefagh Under the skeleton of the skin, lies a clear strategy: the administrative building is laid inside the warehouse space, associating a transparent cargo. Just as a box inside of a box concept.  Diagram The dialogue between these two spaces is a fluid stream of space that makes a totally new experience for its users, as being on one side of the room makes a sensation of being on the other.  © Mohammad Hasan Ettefagh  Section  © Mohammad Hasan Ettefagh The "System Warehouse" project uses a monochromatic color scheme, composed only from shades of white. The Only true colors come from the plants, as a taste of nature inside of an industrial space, and from the ceramics, that are the product of the factory for which the whole project is built to support and offer storage facilities. The warehouse and administration as intermediate space provide light and view for each other.  © Mohammad Hasan Ettefagh  This posting includes an audio/video/photo media file: Download Now |
| Village as Kitchen of UABB / ZHOU Wei + ZHANG Bin / Atelier Z+ Posted: 15 Mar 2018 03:00 PM PDT  3# Exhibition Hall. Image © CreatAR Images
Neither City Nor Village, As City As Village  3# Exhibition Hall. Image © CreatAR Images Focusing on Village as Kitchen, our work is carried out in Dameisha Village, Yantian District with a method of phenomenon observation and space intervention. This theme brings daily household activities such as food and cooking to public activities and communications among communities. In traditional culture of Canton, cooking and diet activities shared in clan communities are always the carrier of communities' publicity. They are especially more common during festivals, weddings and funerals. However, various local and outsider communities gather in Dameisha Village today, and there is certain estrangement in their social network. So we hope to promote community communication, revitalize publicity through our space practice.  8# Exhibition Hall. Image © CreatAR Images Event Space, Daily Space  Location Based on the question mentioned above, with limited resource, we organize two characteristic private house spaces in Dameisha Village and integrate art space with daily space. We associate construction behavior with the place, so that the construction can be embedded in its space-time vein. When the exhibition comes to an end, if these spaces can still operate in a long term, the publicity can also be arisen by villagers' daily life, which will be a benign process.  8# Exhibition Hall. Image © CreatAR Images One Intervention, One Section  3# Exhibition Hall. Image © CreatAR Images 3# Children's Playing House
In the process of transformation, we dismantle the original non-bearing walls at first and reveal the basic space structures, some of which are reserved and teased. The original porch between ground floor and courtyard is reconstructed. In order to strengthen the publicity of porch, yard and stairs, a lightweight pergola of wood grid structure is designed additionally, plants can be planted on it, and it can be used as children climbing frame, visitors' seat, as well as a separation of the large courtyard. It is connected with next courtyard and there is also some limitation.  3# Exhibition Hall. Image © CreatAR Images  3# section  3# Exhibition Hall. Image © CreatAR Images The old house's ground space is relatively closed and low, and we imbed a series of continuous prototype spatial sequence into it. There are six double-slope ceilings，every two of them meet at right angles. The space is further unitized by two triangle partition walls which make the exhibits partially hidden, giving rise to the visitors' curiosity. The cornice of second-floor space is low and getting increasingly higher inwards. Exposed beam frames and tiles are reserved for roof. The indoor floor and the first-floor roof act in cooperation with each other. They are designed as partly ups and downs. In the earliest scheme, we intended to open an arch through two bays and design a house in house space for children. Finally, due to the limited costs, a collected inwards semitransparent house in house is built through the original door on the partition wall.  3# Exhibition Hall. Image © CreatAR Images 8# The Older's Overlooking House  3# Exhibition Hall. Image © CreatAR Images On the basis of respecting the old house's major structure, we reorganize the space. We integrate several small rooms which used to be rented separately into continuous exhibition units on the first floor. Also, the deciduous mosaic tiles are repaired, material texture of rammed earth wall is stripped, so that the new architecture space and the old historical remains are collocated, overlapped without priority order. In order to create indoor light atmosphere, high skylights are installed in the roof deck on the first and second floor, and the roof slopes serve as rest steps and theater. These daily spaces can also be combined with event activities. In our earliest scheme, continuous and vertical public space is designed for the middle bay on the first and second floor, directly connecting to the rooftop. Finally, due to limited reinforcing cost, roof steps are only constructed on the second floor. Standing on the rooftop and looking to the north, visitors can see Dameisha villages, resort area and fluctuant distant mountains from near to far side, complex city texture will unfolded before your eyes.  8# Exhibition Hall. Image © CreatAR Images  8# 1-1-1 section  8# Exhibition Hall. Image © CreatAR Images A Balance, A Starting Point  8# Exhibition Hall. Image © CreatAR Images The heterogeneous space strategy is a contact agent and a starting point. We expect to lead and trigger some public phenomenon and activities through space; also, we expect to witness the continuous happening of community renovation, social symbiosis of Dameisha Village with government's continuous guidance and owners' positive feedback.  3# Exhibition Hall. Image © CreatAR Images  This posting includes an audio/video/photo media file: Download Now |
| Whitesands / PDP London Architects Posted: 15 Mar 2018 01:00 PM PDT  Facade Detail. Image © Eiichi Kano
 Front Elevation. Image © Eiichi Kano Text description provided by the architects. Whitesands is a residential development of 28 detached house nestled between the beaches of Pui O and Cheung Sha on South Lantau, Hong Kong. The development draws on the beauty of its natural setting, with each house orientated to capture panoramic views of the South China Sea and the surrounding landscape. The brief called for a contemporary development that promotes a relaxed, beach-side lifestyle. An open, community living concept was introduced early in the design process; echoing this lifestyle and influencing how we approached the design of the houses. The community concept built a picture of the development from the earliest stage; one where the spaces between buildings are as important as the spaces within and as a collective, the houses form an idyllic enclave. The clubhouse, a simple pavilion, would be a discreet but intrinsic part of the community.  Aerial View. Image © Eiichi Kano  Whitesands MLP  Streetscape. Image © Eiichi Kano The design approach for Whitesands draws on openness and a connection to the outdoors, not only in the physical design of the buildings but also in its social ambitions for this new community. Strong connections to the landscape are key manifestations of this approach. Every opportunity was sought to blur the boundary between indoors and outdoors, creating opportunities for residents to engage with nature and with each other. Full height glazing, uninterrupted, frameless corner windows and large, sliding doors open the houses both visually and spatially. Floor-level strip windows provide pleasing glimpses of the landscape along the boundary walls. Limestone floors run throughout the open-plan ground floor and into the garden beyond further encouraging indoor/outdoor living.  Swimming Pool. Image © Eiichi Kano The brief also called for sensitivity to the natural landscape, working where possible with the natural grade and rock formations and preserving the native incense trees on site. This resulted in the crafting of numerous house plans, including an innovative "upside down" house; each house designed to respond to its particular, natural context. Over 10% of the materials come from recycled sources and the overall development achieves a very high level of finish despite minimal use of quarried stone. For its conscientious environmental initiatives Whitesands was awarded a BEAM+ Platinum rating.  First Floor Interior. Image © Eiichi Kano  Whitesands House Type 4 Section  Rear Yard. Image © Eiichi Kano  This posting includes an audio/video/photo media file: Download Now |
| Posted: 15 Mar 2018 12:00 PM PDT  © Arttteeezy
 © Arttteeezy Chapter 1 The ending that have been completed  © Arttteeezy Chapter 2 space is performance  © Arttteeezy  Courtesy of Mur Mur Lab  © Arttteeezy As Mur Mur Lab said, space just likes performance. The people who active in the space is performing. The space of the first floor just likes an immersion theatre, the ground which is wrapped by terrazzo self-contained with the thick wall. It let you have a desire to look up. It's like a canopy. It's slightly uplifted, which is like a dome covering the stage. Touch it lightly and the cold and the warm are like taking.  © April  Section  © Arttteeezy The arch is not only a cover but also a limit. On the second floor, the arches extend to the space in different direction.With one piece overlapping another piece, it makes the space become several levels.At the mean time, several arches also can cross to each other.It makes the space have no boundary. Under the decorate of the arches, the space seems like a fashion show. My girlfriend told me:" the mild curvature surround the flower and dessert softly, make people wanna stay here and have a tea-time."  © Arttteeezy The space's face is not always serious. Sometimes we can find a kind of cute point in here. For example, there have a pair of corners on both sides of building, they are the showcase in the first floor. The shadow of cloud and sky is reflex on the tough glass brick and then soften it. Behind the calm, the conflict between the dramatic and the realistic of the space is concealed.  © Arttteeezy Chapter 3 The future shopping mall  © April The distance between soul and reality is far away. It exists and is true. At the moment, the offline maybe is calm, but the online is lively and extraordinary. What else is more important than the peace of the moment.  © Arttteeezy When space is expressed in words, it always looks pale. The color and the shape which is seen directly with the eye and the richness of the atmosphere, taste, and experience of being in a sense of space seems to be slightly defective under the description.I want to say that i only can have a try to express.  © April  This posting includes an audio/video/photo media file: Download Now |
| Old Be-al House / FMD Architects Posted: 15 Mar 2018 10:00 AM PDT  © John Gollings
 © John Gollings 'Old Be-al' is the loving nickname given to the beautifully old, gnarled Mallee river redgum at the rear of this classic, single story brick veneer home from the inter-war period in Melbourne's inner-east. Underpinning our design notions and considerations for this home were two instinctual ideas: that of our client's fondness for 'Old Be-al' and associated desire for an enhanced connection between the house and the old-growth eucalypt landscape; and our own determined appreciation for the house's original brickwork, something we hoped to celebrate and re-cast within the existing dwelling.  © John Gollings  Floor Plan  © John Gollings While considering the client's brief of a two-bedroom, two-bathroom house, our design managed to reduce the overall footprint of the house and provide generous flowing living spaces with a deep connection to the natural suburban landscape and the heritage of the existing house. The reference to Old Be-al is constantly reinforced within the detailed design. The custom-made entry light mimics its branches, as does the pulls on the joinery and even the custom towel rails in the bathroom. The dynamically angled ceiling of rhythmically spaced timber cross-beams that extend out to an expansive timber decking is in dialogue with the upper canopy of the surrounding trees. The rhythm of the bushland also finds expression in vertical mullions and horizontal bracing beams, reminiscent of both the trunks and the canopies of the adjacent trees.  Elevations The form of the building also reflects the structure of Old Be-al, with the angles of the split trunk mirrored on the new roof forms and associated parapets and canopies. Two hit-and-miss brick walls at the perimeter of this open space have acted as a functional shading device for the western sun as well as privacy screens to the robe, bathroom and living spaces. Through offering permeable elements they enhance appreciation for both the material itself and for the home's unique personality and heritage. Through the partnership and appropriation of quintessential architectural materials in a new and dynamic way, this project invigorates the life of the client through encouraging new connections between home, heritage, and landscape.  © John Gollings  This posting includes an audio/video/photo media file: Download Now |
| Atenea Building / K+M Arquitectura y Urbanismo Posted: 15 Mar 2018 08:00 AM PDT  © Sharif Kahatt ; Juan Solano Ojasi
 © Sharif Kahatt ; Juan Solano Ojasi Text description provided by the architects. Atenea building is a residential project designed for the members of a cultural organization. Its six stories house seven different apartments which respond to the variety of the member's needs. The inhabitants encourage a community lifestyle.  © Sharif Kahatt ; Juan Solano Ojasi Therefore, the housing units are designed as small open and free spaces that barely hold the minimum private support areas. The idea is that those units are complemented with a full common service and entertainment areas which includes meeting spaces, TV room, gym, yoga and dance studio, reading room, among others.  Section The project is triggered by an open collective space, the patio that organized all the building areas around it. The façade is covered by a trellis that provides privacy of the interior spaces and reinforces inward interaction. The patio also offers a series of meeting spaces like wide corridors, hallways, cafeteria, co-working spaces, among others, all which intend to build a collective area and spirit fostering the common good.  © Sharif Kahatt ; Juan Solano Ojasi  This posting includes an audio/video/photo media file: Download Now |
| New Images of MAD's "Spaceship" Lucas Museum Released as Construction Breaks Ground in Los Angeles Posted: 15 Mar 2018 07:00 AM PDT  Courtesy of MAD The Lucas Museum of Narrative Art, designed by MAD Architects, has broken ground in Los Angeles, California. Founded by "Star Wars" creator George Lucas, and standing at the gateway to the city's Exposition Park, the scheme is envisioned as a "futuristic spaceship" landing on the site's natural environment. The building's interior has been designed as an expansive, open cave, flooded with natural light from skylights above. At least $400 million worth of art will be housed in the museum, including over 10,000 paintings, illustrations and movie memorabilia. The first floor and roof will be designated as public areas for visitors to exercise, relax, and "directly experience nature in the urban environment."  Courtesy of MAD  Courtesy of MAD
 Courtesy of MAD Having been chosen for the museum's design in 2014, MAD has provided three unique designs for the $1.5 billion scheme, each responding to three proposed site locations. Having originally unveiled a MAD-designed scheme in Chicago in 2014, Lucas abandoned the plans following concerns over the placement of a private museum on a public lakefront. In 2016, MAD unveiled two similar proposals, one in Los Angeles and one in San Francisco, with the Los Angeles scheme ultimately gaining approval in 2017. Alluding to this difficult journey at the groundbreaking ceremony, Lucas stated: "I am an avid architectural fan and I wanted a special museum that was a work of art in itself, and [MAD] has done that three times."  Courtesy of Studio-MLA
With construction about to begin, the museum is expected to open in 2021. News via: MAD Architects
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| Lake Waconia House / ALTUS Architecture + Design Posted: 15 Mar 2018 06:00 AM PDT  © Paul Crosby
 © Paul Crosby Text description provided by the architects. Situated on the Southwest shore of Lake Waconia, this industrial modern house for a family of 8 seeks to celebrate its natural surroundings through natural materials and dramatic transparency. Located adjacent to a grove of 200 year old oak trees near the shoreline the house is organized as a bold sculptural response to the lake and trees.  © Paul Crosby The two-story, 5,500 square foot home is designed to promote the outdoors and active lifestyle of the family. The central living room is created as a two story atrium with glass walls on the north and south edges capturing daylight throughout the day and inviting views through the house to the trees and lake beyond. The family activity space is an indoor swimming pool with direct access to the lakeside of the property. The upper level is organized as two wings, a master suite and exercise space on the west and the children's wing with two bathrooms, laundry and three two level loft bedrooms for 6 (4 boys and 2 girls).  © Paul Crosby  Main Level plan  © Paul Crosby The exterior materials differentiate the various program elements of the design, with the ground level being a warm white stucco, while the master wing is a deep auburn brick, and the children's wing is wrapped in wood planks with a black brown stain and black aluminum panel edge details all under a dark bronze metal roof. The exterior materials fold into the interior of the house, creating an indoor/outdoor dialogue, and developing the interior living room atrium as a central void space.  © Paul Crosby The entry canopy introduces weathering steel as a contrast to the stucco, carrying into the entry foyer as well. Concrete floors with radiant heat, a steel stair, and perforated blackened steel ceilings in the living room and kitchen convey a rigorous modern aesthetic and reduced cost to the finishing of the space. The children's wing incorporates color stained plywood walls and ceilings, defining an animated, playful environment with dramatic views of the trees, evoking a tree-house imagery.  © Paul Crosby  This posting includes an audio/video/photo media file: Download Now |
| BIG Unveils Bow-Shaped Design for National Theatre of Albania Posted: 15 Mar 2018 05:00 AM PDT  Courtesy of BIG Bjarke Ingels Group (BIG) has released images of its bow-shaped National Theatre of Albania, responding to a thriving performance art scene in the nation's capital. Situated in the cultural heart of downtown Tirana, the scheme seeks to create new urban gathering places for a pedestrian-focused district, while casting the theater as a performer in its own right. Situated on a cultural axis, adjacent to public landmarks such as Skanderbeg Square, the National Opera, and the National Art Gallery, BIG's scheme will replace the existing theater while adding three new performance spaces, a rooftop amphitheater, and a covered public space underneath the building.  Courtesy of BIG  Courtesy of BIG The "bow-tie" form of the scheme is created by lifting the prism-shaped volume at its center, creating public plazas and connections at both sides, and the opportunity for impromptu performances underneath the building. Having entered at either side of the scheme, visitors are led up two grand staircases to the theater foyer, from where they can access the main auditorium or smaller performance spaces.  Courtesy of BIG
The "bow-tie" volume was heavily influenced by the program of venues, with the central main auditorium sandwiched by public functions to the south, and private, servicing areas to the north. On each side, the façade offers the public an insight into the scheme's interior workings, transforming the building into a theatrical performance of its own.  Courtesy of BIG  Courtesy of BIG Above the theater, the scheme's sloping rooftop creates an amphitheater-like space framed by sweeping views across Tirana, offering public outdoor performances as a counterpoint to the sheltered venue beneath.
For the scheme's development, BIG collaborated with Theatre Projects and SON Engineering. News via: BIG
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| H Residence / Lucas y Hernández – Gil Posted: 15 Mar 2018 04:00 AM PDT  © José Hevia
 © José Hevia Text description provided by the architects. This is a 200 m2 apartment in the neighborhood of Letras, next to the Paseo del Prado in Madrid. The residence is in a Gutierrez Soto building, of the fifties, one of the first examples of reinforced concrete structure in residential buildings. The building has a border position between the area of the museums of Paseo del Prado and the scale of ancient Madrid, of the neighborhood of Letras.  © José Hevia  Floor Plan  © José Hevia Our office did a complete renovation, since the residence was very compartmentalized in various sectors. It needed a large diaphanous space to include the art collection of the owners. The concrete structure of the building, which was left in sight, gave us the flexibility to develop the new proposal.  Exploded Axonometric The difficulty of the project was to create a space that was housing and gallery, without losing the scale and comfort of the domestic environment. The chromatic palette is neutral to enhance the paintings and photographs. Oak wood was selected for the flooring and macael marble for the bathrooms. Wood and marble that were originally present in the building.  © José Hevia  This posting includes an audio/video/photo media file: Download Now |
| Four Finalists Selected in the 2018 MCHAP Awards for Emerging Architecture Posted: 15 Mar 2018 02:36 AM PDT  With its Mies Crown Hall Americas Prize, the Illinois Institute of Technology College of Architecture seeks to recognize the most distinguished works of architecture in the Americas. Every two years, the Prize is awarded at an event that takes place in the masterpiece of Mies van der Rohe, the S.R. Crown Hall, the home of the Chicago-based school. The jury, comprising Ricky Burdett, Jose Castillo, Ron Henderson, Rodrigo Pérez de Arce, and Claire Weisz, has announced four finalists in the prize's latest version of the MCHAP.emerge award, which covers architecture built in 2016 and 2017. MCHAP.emerge award aims to recognize outstanding built work by emerging practices, offering a prize of $25,000 to the winner. "Reviewing over 200 projects completed in the Americas in the last two years is a humbling and rewarding task. It reminds us of the exceptional energy, commitment and imagination required by the design professions to respond to even the most modest requirements," stated Ricky Burdett, the chair of the 2018 jury. "Across the board, we witnessed a modesty and authenticity amongst diverse generations of designers operating in complex and diverse contexts. Design ingenuity with profound spatial, social and environmental impact has revealed itself in inner-city small-scale interventions and more demonstrative, yet restrained, architectural statements. The selected projects across South and North America are inspiring and speak of their time: a time of uncertainty, reflection and change. The work of emerging architects shows a rare confidence in the ability of architecture to engage in complex social and cultural processes without compromising intellectual and design integrity." Common Unity / Rozana Montiel | Estudio de Arquitectura © Sandra Pereznieto See the full project on our Spanish-language site here. María Montessori School / EPArquitectos + Estudio Macías Peredo © Onnis Luque See the full project here. Children Village / Rosenbaum + Aleph Zero © Leonardo Finotti See the full project here. Embodied Computation LAB / David Benjamin © Michael Moran  This posting includes an audio/video/photo media file: Download Now |
| How to Celebrate New Architecture: Shaping Identity with Spectacular Opening Ceremonies Posted: 15 Mar 2018 02:30 AM PDT After finishing a building, the client is faced with an important question: How do they celebrate the new architecture? This moment offers an essential opportunity to inform the public about the existence and mission of the building. Therefore, the designs of opening ceremonies are often loaded with symbolic imagery to construct a new identity. Fireworks and light shows are an especially common part of the powerful repertoire used to magnify the aura of architecture. This luminous storytelling can underline the client's uniqueness and superiority on both a local level and an international stage. I spoke with two leading designers to get their insights on how opening ceremonies have changed in recent years: Christophe Berthonneau, Creative Director at Groupe F, who introduced the Louvre Abu Dhabi, and Fred Thompson, Creative Director at Laservision Mega Media, who worked on the opening of the Marina Bay Sands in Singapore. The storytelling component of inaugurations serves as an important ritual to inform the public about the motivation and function of the new building. While reports about the design competition mainly stay within the architecture community, the opening often signifies the first visible step towards the public. With nocturnal fireworks, even small structures can benefit from a large show, and size, distinctive design and the incorporation of the latest technology can all demonstrate the client's pride in their achievements and vision. With video mapping, creative designers have added a more naturalistic form of storytelling, linking the past, present, and future of the architecture. Therefore, light shows during opening ceremonies have turned into a ritual to construct a new identity—either with a cultural focus for museums or with a national political strategy for public buildings.  Grand opening of Marina Bay Sands, Singapore, 2011. Design: Laservision Mega Media. Image © Laservision Mega Media The Trilogy of Enchantment, Memories, and RevelationIn some ways, building openings are like a secular version of birth rituals in religion. Owners festively introduce the new addition to the community and try to maximize viewership with photogenic designs for unforgettable memories. But in contrast to babies who bring their own energy to the ceremony, architecture stays static. Fireworks and video mapping have therefore taken over the role of animating the building. For Berthonneau, successfully creating unique experiences requires three elements: "Clients request the right balance between live, broadcast, and photos. It is necessary to mark time, broadcast information and create memory. The precondition for any event of this type is to work on these three axes at the same time: Enchantment of the public, memorable movement, and revelation of the object in its environment. If the image is successful, it is the aesthetic shock that will take over everything else." Strategies Beyond SizeWith increasingly spectacular opening shows it has become a challenge for designers to find alternatives to the quantitative aspirations to enter the Guinness World Records, which clients are tempted to do for widespread media coverage. For Berthonneau one strategy lies in studying the respective context and to find the right balance between enchantment and relevance. For Thompson, the development of new technologies, custom specifications, and improved design are essential in order to provide, for example, larger color palettes and solutions in smaller sizes.  Lasers, water-screen projections and video mapping projection for IMAGINE at Dubai Festival City, Dubai / UAE, 2017. Design: Laservision Mega Media. Image © Laservision Mega Media When the Expectations of Clients and Audience RiseInnovative visualization technology, powerful lighting tools, and communication behavior have played a crucial role in changes to contemporary outdoor light shows in the last 20 years. Spoiled by striking coverage of international events, audiences and clients have demanded more spectacular and sophisticated entertainment. This led unconsciously to a new position for imagery, states Berthonneau: "The 3D environment, the drone shots and the immediacy of social networks allow us to adopt more abstract and poetic strategies because the image takes precedence over the narrative." Software tools have also sparked the imagination, explains the French designer: "There are now also very powerful, very responsive and affordable multimedia design tools available that are incredibly conducive to artistic creation." The option to preview a show beforehand is an important benefit of visualization advances, assures Thompson, because clients can see the proposed design in a real 3D environment--long before the technical rehearsal, as was required in earlier times: "(We) are able to provide off-site programming and visualizations to our clients from front of house, audience perspectives, camera rigs or media pit that will be at the venue. We're also able to account for how it will impact cityscapes, airports, and military facilities and properly address these potential issues in our programming." This technological step has improved time management and communication, but this affects only the internal organizational view.  Lasers, water-screen projections and video mapping projection for IMAGINE at Dubai Festival City, Dubai / UAE, 2017. Design: Laservision Mega Media. Image © Laservision Mega Media Innovation as a Symbolic of IdentityFor the audience, the symbolic power of using the latest technologies during the event in connection with new communication opportunities are much more important. Considering fancy light equipment in shows conveys the client's sense of the future and a creates a cutting-edge identity. Thompson summarizes the most relevant changes: "Lighting is brighter, faster, more responsive. Integration of Projection mapping onto iconic buildings and surroundings allow for more creative theming and storytelling. Laser color spectrums and intensity have grown larger and more efficient." In addition, the social relation between stage and audience embodies the desire for contemporary communication and digital leadership. Changing the perspective and opening new opportunities for interaction are essential, as Thompson explains: "The industry is trying to do away with the classical fourth wall that separates the audience from the show and instead is focusing in making entertainment even more immersive. Laservision is harnessing the power of social media to drive relevant theming in video and lighting, making the audience a part of the production with images, tweets and video live-streaming across projection mapped surfaces."  "Vives réflexions, museum reflections," multimedia and pyrotechnic show for the grand opening of Louvre Abu Dhabi, Abu Dhabi 2017. Artistic direction: Christophe Berthonneau, Groupe F. Image © N. Chavance, Groupe F Opening Spaces with Projection MappingWhereas the graphical patterns of pyrotechnics have dominated the imagery of festive evening events for decades, recently a new visual element has rapidly spread: Projection mapping. High-resolution images and sequences enable more naturalistic figures and thereby more nuanced narratives. Early projections on tall buildings go back to the 1990s, such as in the celebration of the 200th anniversary of the French Revolution with the Jean Michel Jarre's concert at La Defense in Paris. Berthonneau is very pleased that the technology is much more widely available today: "The tools of projection are now very powerful, they favor the creation of content referring to contexts, the light is alive, fragile and always symbolizes a time of exception. A great mastery of pyrotechnics is needed to combine light densities and produce balanced images." The major advantage of projection mapping lies in the spatial dimension, explains Thompson: "With projection mapping we're able to use a lot more of the "dead-space" that was previously found in crowded venues. As more and more events are competing for usable creative space, we've found projection mapping to be very useful in opening up the space. While classic lighting, lasers, flames, and fireworks cover a large portion of the main audience view, we are able to spread that creative space onto tall buildings, columns, retail and restaurants—using every bit of space available to wow the audience and give a truly 360-degree experience."  Multimedia show for the inauguration of the Museum of Islamic Art, Qatar, 2008. Design: Groupe F. Image © T. Nava, Groupe F Spotting Trends for Mega-BuildingsRituals are bound, per se, to tradition. Therefore, even the secular act of opening buildings will not abandon a link to conventions and history. But the emergence of new structures also requires novel perspectives with careful action, clarifies Berthonneau: "It will always be a mixture between tradition and surprise. It is necessary to 'baptize,' reveal, celebrate and open up... the topics are always important. It is therefore necessary to mix known techniques and to explore the possibilities without ever forgetting that failure is not allowed." Next to fascinating technologies, the point of reference should certainly be the building itself, underlines Thompson when he envisions future trends: "Projection-mapping and intricate LED surfaces are definitely the big focus for Laservision. In addition to world-class fountain shows and productions in the space around these mega-structures, incorporating the structure itself into the production is not only a big wow factor, but it can add an entirely new dimension to the celebrations. What better way to celebrate the grand opening of such a large-scale project and achievement than with the monument or structure itself as the centerpiece?" The recent opening ceremony for the Winter Olympic Games in Seoul indicates another trend. Luminous storytelling will no longer limit itself to controlled digital pixels on building surfaces but will take possession of another sphere: the sky, using flying light pixels. LED pixels combined with drone swarm technology amaze the audience with the impression of smart controlled stars. Empower the Audience in Real-TimeIn order to close the gap between the audience and architecture, which meet for the first time in these opening ceremonies, the idea of participation is crucial. This means not only seeing and "liking" posts on official media channels, but also the promotion of the personal perspective, through uploaded photos and videos that allow the audience to proudly inform their followers that they attend the ceremony live. These subjective views can also be integrated into the performance to create the impression of a dialog. This change from passive reaction to empowering the audience increases communication, finds Thompson: "It used to be, not long ago, that lighting design was just to look amazing and capture as many shares, likes, tweets and links from the videos and photos generated at the event from Social Media. Today, we are engaging social media audiences and allowing them to contribute to the experience and take ownership of the production. Comments, Video, Photos can be streamed real-time into the performance. This ownership not only adds to the enjoyment of the show, but also boosts social media metrics as audiences and their friend networks are more likely to share your creation with the world if they are involved with it." Light matters, a column on light and space, is written by Dr. Thomas Schielke. Based in Germany, he is fascinated by architectural lighting and works as an editor for the lighting company ERCO. He has published numerous articles and co-authored the books "Light Perspectives" and "SuperLux". For more information check www.erco.com, www.arclighting.de or follow him @arcspaces.  This posting includes an audio/video/photo media file: Download Now |
| Primary School in Loiano / Studio Contini Posted: 15 Mar 2018 02:00 AM PDT  © Davide Galli
 © Davide Galli Text description provided by the architects. The new primary school in Loiano was completed and tested in 12 months in respect of the times and amounts of contract and without reservation by the enterprise and public administration.  © Davide Galli As an established tradition of the study, the search for a harmonious relationship with the geographical context and the well-being of future users drove the design and subsequent implementation.  Ground Floor Plan The volumes of the school building, located in an area of scenic interest at the Bologna Apennines, were partly buried to limit the visual impact upstream, thus to obtain two distinct levels for classes and workshops, both with free rein to the spacious green areas.  © Davide Galli  Detail  © Davide Galli The distribution of the teaching spaces follows the new addresses carried out by the Italian Ministry of education on school construction and is also the result of a participatory with the main school.  © Davide Galli The attics, the stairs, doors, the windows and the interior furnishings interior are characterized by the use of wood, with the goal of the creation of a domestic perception and welcoming school spaces for children and school staff.  Detail The building with reinforced concrete and wood falls within the classification A4 of the Emilia Romagna region and it is built according to the concepts of the NZB building (Zero Emission Energy Building) thanks to the high performance of the housing and the integrated plant system for electricity in charge of the generation of photovoltaic panels.  © Davide Galli  This posting includes an audio/video/photo media file: Download Now |
| Power on Campus - Harvard Energy Facility Showcases the Beauty of Infrastructure Posted: 15 Mar 2018 01:00 AM PDT  Night view. Image Courtesy of Leers Weinzapfel Associates On a prominent, highly visible site within Harvard University's Allston Campus, a celebration of the beauty of infrastructure is beginning to take shape. Designed by Boston-based Leers Weinzapfel Associates, the 58,000 square foot Allston Campus District Energy Facility (DEF) represents a new, highly efficient infrastructure typology, delivering electricity and water for the campus, whilst simultaneously showcasing the intricate complexity of engineering and design.  Daytime view. Image Courtesy of Leers Weinzapfel Associates The scheme places an emphasis on publicizing an often-hidden infrastructure. The façade of the DEF is dominated by a wrapping of metal fins, alternating between varying degrees of openness to frame views of various equipment areas within. On the public face, the fins are raised above ground level to reveal the main equipment hall, inviting the public to observe a complicated system of chillers, boilers, piping, pumps and flues. Appropriate for a science and engineering campus, the scheme serves as a teaching tool for the university – a working exhibit of the invisible nodes and arteries which support the living environment.  East elevation. Image Courtesy of Leers Weinzapfel Associates At the core of the Leers Weinzapfel scheme is a dedication towards efficiency and resilience. Equipment systems will be elevated above flood level to enable continuous operation of the facility even in the event of electrical grid failure, whilst a chilled water reserve tank provides thermal energy. On an urban scale, the compact cubic form of the scheme maximizes flexibility for future development, whilst maintaining a bold, refined presence.  View across the river. Image Courtesy of Leers Weinzapfel Associates
With construction underway, the Harvard University Allston Campus District Energy Facility is due for completion in 2019. News via: Leers Weinzapfel Associates.
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| New Tower Typology Uses Steel Cables to Wrap Itself Together Posted: 14 Mar 2018 11:00 PM PDT  Courtesy of RB Systems A speculative project, the "New York Super Slender" created by RB Systems, is a futuristic skyscraper that presents a potential new tower typology. With ever-diminishing land space in major cities and a vastly growing population, the project rises to the challenge of optimizing occupancy in a constrained and dense city center.  Courtesy of RB Systems The tower has an approximately 30-meter x 30-meter footprint and rises 400 meters into the sky. It explores the elimination of perimeter columns, instead replacing their structural purpose with a series of steel cables that run and twist along the height of the tower. The cables are anchored in a deep foundation and tied back to the core at the upper structural ring, creating a force of surface tension that can be likened to the way candy is held in a wrap when the ends are twisted. This use of steel cables creates a solution which is light, yet sturdy.  Courtesy of RB Systems  Courtesy of RB Systems Rustem Baishev of RB Systems describes his design method as a conception of architecture as a field of systems engineering, not a field of art. As such, the aesthetics of his project are rooted in the building's structure, creating a sleek, minimal and futuristic volume of reflective glass. Design decisions are focused on the efficiency of the building as machine, with the cylindrical tube shape of the design being one of the most efficient forms of wind resistance.  Courtesy of RB Systems The façade of the building is scripted using parametric software, with paired triangle panels wrapping around to create the curved surface of the tower. The boxes which the cables run inside of have integrated software-controlled rotating vents for natural ventilation and air conditioning, while the high-performance glass coating blocks excessive thermal gain.  Entrance Lobby and Observation Deck. Image Courtesy of RB Systems One of the most distinctive parts of the design is the seemingly floating "Halo" canopy at the entrance of the building. This adds to the overall 'futuristic' condition of the project, further emphasized in visualizations of the smooth and white spaces of the entrance lobby and observation deck. The furniture of the building was also designed to fit perfectly as part of the tower's integrated design approach. The spaces hold ergonomic, transformable desks and seats to suit the needs of the user.  Ergonomic Furniture. Image Courtesy of RB Systems The project creates futuristic spaces that begin to question current issues in architecture. Through innovative design, it offers a solution to creating smaller building footprints while accommodating a growing population. News via: RB Systems.  This posting includes an audio/video/photo media file: Download Now |
| 36 Residential Units / EDDEA Arquitectura y Urbanismo Posted: 14 Mar 2018 10:00 PM PDT  © Fernando Alda
 © Fernando Alda Text description provided by the architects. Situated in the outskirts of the City of Seville, between the municipalities of Castilleja de Guzmán and Castilleja de la Cuesta, the site provides privileged views over the Andalusia capital. In contrast to the traditional model of singular private houses the project creates a new urban pattern – residential blocks of townhouses inserted in the plot in an aligatorious manner leaving in this way semi-private areas between the blocks for common facilities like swimming pools and sport courts.  Site Plan With a smooth east-west incline, the topography of the site is slightly modified in order to create small dunes and trenches guiding the inhabitants and visitors to the different townhouses. The access to each one of the different residential blocks had been arranged through a semi-open courtyard from which the visitor enters in a triple height entrance space which will lead to the different apartments.  © Fernando Alda  Ground Floor Plan  © Fernando Alda A total of 36 apartments with an average sellable area of 126 m2 are distributed in the way that the 4 bedroom apartments are situated in the ground floor of the 4 residential blocks, enjoying a private garden, while the 3 and 2 bedroom apartments are located in the upper floors and are including covered terraces and solariums overviewing the spectacular landscape.  © Fernando Alda  This posting includes an audio/video/photo media file: Download Now |
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