Arch Daily |
- Palazzo Doria Pamphilj Apartment Renovation / SUPERVOID
- House in Roschino / AB CHVOYA
- HIIHUB / HII Architects
- Beijing Cultural Innovation Park / COBBLESTONE DESIGN
- Latin America's First Earthship is a Sustainable School Built from Found Materials
- Greek Pavilion at the 2018 Venice Biennale to Explore Utopian Visions of Learning
- Re-Urbanization of Sapé / Base Urbana + Pessoa Arquitetos
- 11 Houses with Unique Living Rooms
- Backyard Cabin Experiments With 3D-Printed Tiles as a Facade Material
- Refurbishment and Extension of San Juan de Dios Hospital / Ah Asociados
- Tensile Structures: How Do They Work and What Are the Different Types?
| Palazzo Doria Pamphilj Apartment Renovation / SUPERVOID Posted: 18 Mar 2018 08:00 PM PDT  © Giorgio De Vecchi - Gerda Studio
 © Giorgio De Vecchi - Gerda Studio Text description provided by the architects. Palazzo Doria Pamphilj as we know it today is the result of at least five different construction phases spanning four centuries. Through a process of successive agglomeration, the monumental complex finally became a unitarian urban block. The construction on the site along Via Lata - now Via del Corso - started with Cardinal Fazio Santorio's tribune, which forms the first nucleus of the entire complex, built around the bramatesque courtyard from 1505 to 1507. The porch, whose second order later became the Gallery, remembers closely Bramante's design for Palazzo Riario. For this reason, it was wrongly attributed to the latter by many authors.  Palazzo Doria Pamphilj, Worm's Eye Axonometric  © Giorgio De Vecchi - Gerda Studio  Plan The Palazzo, owned by the Della Rovere family throughout the XVI century, was then sold to Cardinal Pietro Aldobrandini in 1601 who supervised the second construction phase which lasted until 1647. He commissioned the expansion of the Palazzo towards the Collegio Romano and built the two wings enclosing the "Giardino dei Melangoli", designed by Pietro Moraldi. These interventions, not extraordinary in themselves, provided the base for the subsequent expansions and modifications by Antonio del Grande, Valvassori, Ameli and finally Andrea Busiri Vici.  © Giorgio De Vecchi - Gerda Studio In 1644 Giovan Battista Pamphilj, whose family was linked to the Aldobrandini, became Pope Innocent X, bringing great fortune to the house. Innocent, whose famous portrait by Diego Velázquez still sits Palazzo Doria Pamphilj, First floor plan in the Gallery, gave Antonio del Grande the task of transforming what was the result of heterogenous additions into an organic and rational structure. This was achieved through the insertion of a monumental vestibule on Piazza del Collegio Romano, which links the Santorio courtyard to the newly built apartments through a monumental staircase.  © Giorgio De Vecchi - Gerda Studio  Section of A. Busiri Vici's Staircase Leading to the Apartment  © Giorgio De Vecchi - Gerda Studio The Palazzo had by then acquired a conspicuous scale and was ready to be filled with one of the most important art collections of baroque Rome. Andrea Busiri Vici, supervisor of the building throughout the XIX century was the author of the last addition, the wing of the building along Via della Gatta, where is located the intervention. The urban block was then completed with the same attitude that had guided the architects who came before him: giving an organic and finite form to a complex that never had an overall plan.  © Giorgio De Vecchi - Gerda Studio The western wing of Palazzo Doria Pamphilj was built between XVIII and XIX century to house rental apartments, and this is still today its main function. The project aims to establish an articulated and meaningful spacial sequence between the monumental common spaces of the Palazzo – such as the spacious staircase leading to the apartment – and its interior. This is achieved through the creation of a vaulted space, which welcomes the guests and at the same time provides a soft diffused lighting.  © Giorgio De Vecchi - Gerda Studio The relationship between the baroque articulation of the palazzo and the project is merely spatial since the intervention is quite silent and stripped bare of any stylistic or trivial connotations. The suspended setting resulting from the combination of abstract white surfaces and a soft diffused lighting provides a silent background for the mise-en-scène of the client's collection of objects and paintings. The space is further articulated through the use of mirrors which reflect the vaults and alter the perception of the masonry load-bearing walls. This introduces a tension within the regular and defined arrangement of the rooms around a light shaft.  Model of the Interior Volumes  This posting includes an audio/video/photo media file: Download Now |
| Posted: 18 Mar 2018 07:00 PM PDT  © Dmitry Tsyrencshikov
 © Dmitry Tsyrencshikov Text description provided by the architects. This is a house for the family of two artists in Roschino, sixty kilometers from Saint-Petersburg. The house is located on the edge of a settlement, just by the forest. The plot is a bit sloped, it is completely covered with conifer trees and has two anthills on it. The position and dimensions of the building are predefined by the environment. A long narrow volume of the house is placed in such a way that it preserves all the flora and fauna of the site.  © Dmitry Tsyrencshikov The house is 30 by 5.5 meters in size. It consists of a studio and a residential part separated by a transit porch. The residential part consists of an entrance area, a kitchen-living-dining area, two bedrooms for children and guests and a master bedroom. Sleeping places in small rooms are located on the mezzanine. Above the master bedroom, in an only protrusion, there is a space for yogic meditation.  © Dmitry Tsyrencshikov  Floor Plans  © Dmitry Tsyrencshikov Following the plot's slope, the floor level rises from the workshop to the bedrooms, while the roof level is set constant. The roof slopes to the south, so as to provide northern exposure to mezzanines in the bedrooms and the studio. The exterior of the house is faced with carbonized wooden planks.  © Dmitry Tsyrencshikov  This posting includes an audio/video/photo media file: Download Now |
| Posted: 18 Mar 2018 05:00 PM PDT  © MD Pursuit
 © MD Pursuit Text description provided by the architects. This is the first project of HII Architects all the way from bran image concept, space design to physical service design. "Design is to create more chances for people to experience", it is the start of our imagination to young and unknown backpacking travel. We try to create a field with local interaction, living experiences, through of essential life and skip from general model of temporary relationship among traveler, travel and hotel.  © MD Pursuit The original building of this project is a common 5-floor house of 60's in Taiwan. It was a traditional dental clinic at the beginning and became a cram school in past 2 decades. The business has been suspended over years. We found there are all kinds of cram school propaganda left on the wall and bold cross application of large snake pattern tile and white marble on floor usually seen at prosperous time of Tainan. There is fashion bank warehouse in front and large areas of old Tainan Judicial Dormitory in back (now the Blueprint Cultural & Creative Park), such unique special tempo encountered at urban environment has attracted us deeply from the very beginning. Being the design party as well as an operator, the team is highly free to create overall design and therefore the considerations in all circles could be more complete.  © MD Pursuit The initial target was mainly focus on bold experiment to go deep into eating, clothing, living and transportation. The concept of "Hub" is adopted to connect art, culture, building and living, exploring local fun of living and creating diversified happy life experiences. These abstract thoughts were a start which we had never tried before. This concept is not only about life, the core concept is to proceed from oneself. As a "worker moving to south", the aspect of life is not just simple living, the travel to and from Tainan and Taipei brings the imagination of space in the future.  © MD Pursuit In the design process, it launches from abstract eating, clothing, living and transportation and then extends to all details like space, materials, plants, lights and textiles. It is hoped that users may notice and fell the details distinguished from other hotels.  Plan From the extension of travel worker moving to south, we use middle floor as common working space to connect the leisure space upstairs and entertainment space on ground floor. We try to use large working table at relatively open space as much as possible to the hope that workers here may have connection with other travelers. The beautiful patio on second floor allows green environment extend across outdoor and indoor. It is good place for cowork, exhibition and lectures. 1F is designed as café and experimental kitchen. The rear lane is opened and connected directly with Judicial Dormitory Group in the back. It not only has good air and light circulation, but also extends the lines of urban city allowing people to get close with this space. 3-5 floors are centered on "simple travel life". We pull the protruded balcony back and design for the lavatory and flowerbed in room. Imagine the comfortable sunshine in southern country brought in every morning. There is open hole on slope roof of top floor to get natural sunshine.  © MD Pursuit With limitation of narrow space in original building, we extend the light at space by using the features of glass brick. The space between staircase and room is not only extended via the transparent wall, but also further confuse the boundary between room and balcony to show the dramatic tension.  © MD Pursuit Just like "happy life and slow down", the space atmosphere expected by the team, we use the most simple material to keep more imagination to the future. It is hoped that future travelers and the owner may invest and stimulate more vitality and imagination.  © MD Pursuit  This posting includes an audio/video/photo media file: Download Now |
| Beijing Cultural Innovation Park / COBBLESTONE DESIGN Posted: 18 Mar 2018 01:00 PM PDT  © Yijie Hu
 © Yijie Hu Text description provided by the architects. The renewal of all industrial plots is accompanied by the dual renewal of industry and space. However, the content organization under the industrial orientation is often dynamic and unfixed, so the spatial form needs to continuously reflect the value of the potential content. The goal of renovation and design of “Shouxing Innovation Workshop” is to build the communication spaces and venues which is adapted to potential domain functions by reorganizing the site and content, interface, and texture of building, that is, strive to provide display, exchange, investment and financing services, office and leisure supporting platforms and venues for technological and cultural innovation enterprises. Communication is a keyword composed by functional media, crowd behavior and space.  © Yijie Hu The project is located in the China New Media industrial Park at the southern end of the central axis of Beijing,about 16 km from Tian An Men.The park was first established in the 1990s as a traditional industrial Park.In 2005, it was approved as the base of the new media industry in China,and became a professional industrial agglomeration area dominated by new media industry.According to the material control plan 2013,there are more than 80 industrial enterprises in the park of the industrial structure will be converted to cultural creative,services,information,digital industry,commerce as the main content of the high-tech.The construction space and industrial material strucure face double renewal.The project area was belong to Beijing Yongan heating Co.,Ltd, built in the early 1990s,and has been abandoned.  © Yijie Hu .jpg?1520435458 "Axonometric") Axonometric The project positioning "innovaton works"conforms to the control regulations and future development needs.The original building is 8000m2, and after the transformation,the building scale is 11500 m2,the floor area is 4200 m2,the layer number is 2-4 floors,the total height is 24m.It is mainly used for business,art exhibition and creative office. “Communication”- intersection and interaction, which can penetrate into the spatial interface, facade muscle, industries, information exchange, interpersonal behavior and emotion, and has the dual meaning of content and form, and innovation fits.  © Yijie Hu  © Yijie Hu The principle & proposes 1. Planning a universal place and space because the enterprise in the future investment process there is uncertainty.  © Yijie Hu Strategies and methods 1.Site organization: the extended interface, function and streamline, a transformation from individual to place.  © Yijie Hu  Section  © Yijie Hu 2. Architectural organization: there are two ways to change the function of the site and redefined space of the interface from the individual to the place in the continuous space of the content.  © Yijie Hu 3.Aesthetic strategy:Change from zero to integral: Structure and form, texture and repetition, reconciliation and contrast, script and scene.  © Yijie Hu  This posting includes an audio/video/photo media file: Download Now |
| Latin America's First Earthship is a Sustainable School Built from Found Materials Posted: 18 Mar 2018 09:00 AM PDT  via Earthship Biotecture / Tagma Seeking to combine traditional education with the responsible use of resources and the development of sustainable human relations, the first sustainable public school in Latin America was created. Designed under a constructive method developed by the North American architect Michael Reynolds, who has now built such schools around the world. The 270 square meters building is on the coastal portion of Jaureguiberry, Canelones and was raised in only seven weeks. Its construction is made up of approximately 60% recycled materials (covered with plastic and glass bottles, cans, cardboard) and 40% of traditional materials. From the architects. The Earthship, as Reynolds calls it, seeks to make the most of the energy of the sun, water, wind, and earth. To do this, the surroundings are sensitive to the orientations, opening to the north to make the most of light and solar energy through a wide glass corridor that acts as a distributor of the three classrooms and two wings of the school, projecting to the exterior a simple and forceful facade dominated by glass and wood.  via Earthship Biotecture / Tagma The north corridor, in turn, enables the production of food through an interior garden. Electrical energy is generated from photovoltaic panels and a central energy storage.  via Earthship Biotecture / Tagma To the south, the building is enclosed with a thick retaining wall made of roofs filled with sand and compacted gravel containing the sand and earth slope at the back of the building. This strategy, in addition to increasing the thermal inertia, allows covering the whole system of reserve and collection of rainwater coming from the cover, besides implementing a sequence of tubes that from natural convective processes, generating cross circulation of fresh air in the summer through the classroom. In winter, the pipes can be closed and the heat generated by the greenhouse effect of the north corridor allows air conditioning in the classrooms.  via Earthship Biotecture / Tagma In addition to being self-sufficient in its energy production/consumption and boosting the organic production of food in its interior, the sustainable school uses rainwater for human consumption in the sinks, irrigation of the vegetable gardens and finally to the cisterns. The school also counts on a process of treatment of black water which includes a septic tank also created with recycled materials (in this case tractor coverings) and a wet zone on the exterior of the building.  via Earthship Biotecture / Tagma  via Earthship Biotecture / Tagma The constructive strategy involves a mechanism of social participation that, in addition to making possible the construction of the school in a shorter period of time, seeks to transfer the knowledge of the system used and strongly involve the local community before, during and after the completion of the works. More than 150 people participated, including volunteers, students from Uruguay and thirty other countries.  via Earthship Biotecture / Tagma  via Earthship Biotecture / Tagma The initiative comes from Tagma, a national non - profit organization and was supported by ANEP - CEIP, Canelones stewardship and by public and private companies that made its execution possible. For more information click here.  Floor Plan  Section + Facade Author/Studio: Michael Reynolds, from Earthship Biotecture and Federico Palermo, from Tagma  This posting includes an audio/video/photo media file: Download Now |
| Greek Pavilion at the 2018 Venice Biennale to Explore Utopian Visions of Learning Posted: 18 Mar 2018 07:00 AM PDT  Courtesy of Neiheiser Argyros As part of our 2018 Venice Architecture Biennale coverage we present the proposal for the Greek Pavilion. Below, the participants describe their contribution in their own words. Xristina Argyros and Ryan Neiheiser have been selected to curate the exhibition of the Greek Pavilion in the 16th International Architecture Exhibition – La Biennale di Venezia - under the general theme "Freespace," commissioned by Yvonne Farrell and Shelley McNamara. Entitled "The School of Athens," the project will examine the architecture of the academic commons - from Plato's Academy to contemporary university designs. The selection was made by The Greek Ministry of Environment and Energy and the Secretary-General of Spatial Planning and Urban Design, Eirini Klampatsea.  Courtesy of Neiheiser Argyros The curatorial duo re-imagines the Greek Pavilion as its own kind of learning "freespace," adopting the architectural trope of the stepped landscape to create an active space of debate and exchange. Within this landscape, architectural models depicting academic common spaces from across history and around the world, both realized and unrealized, will create a field of architectural specimens that fills the pavilion in all directions. The project recognizes that common spaces within the university - unprogrammed spaces for impromptu conversation, casual gossip, heated debate, pop-up lectures, networking, and informal teaching - are vital to the institution's continued relevance and vibrancy, and deserves intelligent critique and update. The exhibition will take place from May 26th to November 25th, 2018 (Preview May 24th and 25th) in the Giardini, Venice, Italy. Curator The School of Athens is an ambition; a utopian vision of a free, open, informal, and common space for learning. It is an in-between space. Neither inside nor outside, not quite a room, but also not simply a space for circulation. Although we typically think of learning taking place in the classroom, educators and architects have recognized for thousands of years that learning also takes place in the space between; in the hallways, on the stairs, at the café, in the quad. Socrates taught in the Agora. Plato founded his Academy in the olive grove outside of Athens and often taught while walking. Medieval colleges were organized around a communal courtyard. 20th-century universities are filled with informal learning spaces often associated with circulation, and today there is a particular fascination with designing staircases, or stepped seating spaces, as the main architectural feature of an academic commons. Our ambition is to both look back, and to scan across the current landscape of university architecture, to extract compelling and successful spaces that are "free" - democratic, unprogrammed, and common.  This posting includes an audio/video/photo media file: Download Now |
| Re-Urbanization of Sapé / Base Urbana + Pessoa Arquitetos Posted: 18 Mar 2018 06:00 AM PDT  © Pedro Vannucchi
 © Pedro Vannucchi Text description provided by the architects. URBAN DESIGN Re-urbanization of the area known as SAPÉ was an initiative of the Municipal Housing Secretariat of São Paulo. The action involved 2,500 families living in precarious dwellings in the district of Rio Pequeno. The design concept for the urbanization of Sapé was to promote the urban stitching of both banks of the watercourse by designing public spaces. Survey of the physical and social characteristics of the surrounding community showed urban discontinuity in various stages of deterioration and precariousness. Thus the project becomes the tool for inclusion to the extent that its actions would offer opportunities for connecting people, allowing social reunions and exchanges within the urbanized social space As infrastructure and housing projects converge in urban design (21), spaces are created to improve urban mobility, environmental quality, housing, recreation and work that will enhance the sense of belonging and cooperate to preserve and improve quality of life in the city.  © Pedro Vannucchi  © Pedro Vannucchi The main goals of urbanization are namely to remove all families under situation of risk (03), to implement urban infrastructure in existing dwellings and to build new houses in the area. Therefore, beginning with the areas spared from mandatory removals, other possible settlement areas adjoining the green promenade alongside the Sapé watercourse were surveyed (04). With re-urbanization 3 areas for new buildings were created while the public space was maximized by creating connecting points in the community encompassing the neighborhood and schools (14/15).  Urban Plan 2  Urban Plan 3 The project for drainage of the Sapé watercourse adopted as a reference the project previously implemented upstream by the environment secretariat (SVMA). To develop the canal sections geometry we tried to respect the original topography of the riverbed, without substantially modifying the bottom heights and widths, using several hydraulic sections (T, mixed and straight) (09), a strategy that allowed us to visually bring the water surface to the level of the sidewalks. On both banks, non aedificanda areas were used to plant trees along the promenade and to create parks for people gatherings and recreational activities (05). Owing to the small declivity throughout the path, we proposed to build a bike lane along the left bank that would be connected to the projected bike lane leading to Avenida Politécnica and the Butantã Public School. This would allow a longitudinal integration along the 1,800 meters of the promenade.(08)  © Pedro Vannucchi  Section  © Pedro Vannucchi Transversally the project established two new roadways¸ improved pedestrian alleys and access to the remaining dwellings. Several bridges were built to allow easier crossing of the watercourse.(13) All inner roads are shared, paved with interlocking concrete blocks and featuring low curbs, much like the English Woonerf where pedestrian traffic is prioritized and car circulation is controlled via urban design and landscaping elements.(11)  © Pedro Vannucchi  Section  © Pedro Vannucchi The project provides strong permeability among public, collective and private spaces. (12) In places of high declivity and where retention was required a low concrete parapet was built (up to 120cm high), thus introducing a physical element that allowed articulation between said spaces, without causing undue segregation and at the same time solving the problem. The cantilever wall retains the foundations of buildings alongside the riverbed and the green promenade, where gardens, staircases and ramps were inscribed in the urban design and at the same time it set the boundaries for the new condominium buildings. All these urban design strategies and interventions at different levels helped to bring the concept of public spaces mobility and recreation closer to the buildings, to the alleys and to the small squares shaped by the works of infrastructure (07/16/17).  © Pedro Vannucchi Preliminary social diagnosis had highlighted the precarious economic situation of the population in the area. Urban action was therefore also aimed at tapping vocations and opportunities. To this effect, the urban project took into consideration the multiple uses of spaces and created areas along the green promenade so that uses related to services and the existing stores, as well as to the new recreational spaces and the bike lane would be fully integrated and provide income opportunities and act as urban tools for physical and social integration. Even in the early periods of the works it was possible to detect that merely by widening the sidewalks these opportunities naturally arise (18/19).  © Pedro Vannucchi  © Pedro Vannucchi SCALE OF THE BUILDING The architectural project for Sapé is grounded on the two following considerations: Unit to building : the project envisages 7 different types of housing units – 2 bedrooms, 3 bedrooms, duplex and universal access units, all between 50 and 46 square meters, besides commercial and services units (06/29). The number of each was determined from the survey of families as the work developed. Constructive system was optimized according to the standard measures defined for windows and doors, hydraulic plumbing on fixed panels, all allowing adequate cross ventilation. (28) Shared collective porches for circulation allowed more conviviality in the alleys at ground level and created a space for social exchanges among families living on the same floor of the buildings.(26/30)  © Pedro Vannucchi city to building: structural separation of buildings for horizontal circulation and vertical intervals, as well as definition of building volumes was of the essence to achieve flexibility in the implantation of buildings. (22) Articulation between these elements generated an implantation that was adapted to each particular terrain, its relationship vis à vis the environment and the situation of each lot in the landscape. (24/25) By incorporating the landscape into the green promenade between each building all spaces were integrated and helped shaping the transition between public and private areas. There was an ever present concern to allow access to houses either at street level or via the green promenade. In order to accommodate this concept to the actual topography, buildings were "poised" on the terrain, creating underground units directly connected to the green promenade.  © Pedro Vannucchi  This posting includes an audio/video/photo media file: Download Now |
| 11 Houses with Unique Living Rooms Posted: 18 Mar 2018 05:00 AM PDT  © Hiroshi Ueda Living rooms are spaces dedicated to sharing time with family, receiving visitors, working, and carrying out a wide range of unpredictable activities. Regardless of their size, the key to an innovative design for this part of a house is in creative spatial organization, in its connection to other parts of the home and, above all, in programmatic flexibility. Here, we present a selection of exceptional living rooms captured by renowned photographers such as Hiroshi Ueda, David Foessel, and Wison Tungthunya. Akihide MishimaTenhachi House / .8 Tenhachi Architect & Interior Design © Akihide Mishima 1-1 ArchitectHouse NI / 1-1 Architect Cortesía de 1-1 Architect RuetempleArchitect's Workshop / Ruetemple Cortesía de Ruetemple David FoesselAtelier_142 / Atelier Wilda © David Foessel Koji Fujii / Nacasa ＆ PartnersPit House / UID Architects © Koji Fujii / Nacasa ＆ Partners Kengo Kuma & AssociatesMême – Experimental House / Kengo Kuma & Associates Cortesía de kengo kuma & associates Fernando Guerra | FG+SGTetris House / Studio MK27 - Marcio Kogan + Carolina Castroviejo © Fernando Guerra | FG+SG Wison TungthunyaBear House / Onion © Wison Tungthunya Toby ScottNaranga Avenue House / James Russell Architect © Toby Scott Matt ClaytonScenario's House / Scenario Architecture © Matt Clayton Hiroshi UedaNest / UID Architects © Hiroshi Ueda  This posting includes an audio/video/photo media file: Download Now |
| Backyard Cabin Experiments With 3D-Printed Tiles as a Facade Material Posted: 18 Mar 2018 02:30 AM PDT  The cabin is integrated into the landscape thanks to the hundreds of succulents and air plants that comprise the facade and are held by the 3D-printed hexagonal planter tiles. 3D-printed chairs and tables, also designed by Emerging Objects, serve as both indoor and outdoor furniture. Image © Matthew Millman This article was originally published by The Architect's Newspaper as "Cutting-edge 3-D-printing pushes construction boundaries in an Oakland cabin." The 3D-printed Cabin of Curiosities is a research endeavor and "proof of concept" investigation into the architectural possibilities of upcycling and custom 3D-printed claddings as a response to 21st-century housing needs. This exploratory project is an output of Bay Area-based additive manufacturing startup Emerging Objects, founded by Ronald Rael and Virginia San Fratello, who are professors at the University of California Berkeley and San Jose State University, respectively. They also co-founded the architecture studio Rael San Fratello, whose work primarily focuses on architecture as a cultural endeavor.
 A corner detail shows 3D-printed ceramic "seed stitch" tiles overlapping on the facade corner. The "planter tiles," which hold succulents and air plants, face forward. Image © Matthew Millman The Cabin of Curiosities is exemplary of Emerging Objects' work, which dives deep into the material science of additive manufacturing while utilizing open-source tools and standard off-the-shelf printers. Due to a housing emergency in the Bay Area, the Oakland City Council eased restrictions on the construction of secondary housing units, or backyard cottages. The new rules promote more rental housing by easing parking requirements, allowing homeowners to transform existing backyard buildings like sheds and garages into living spaces, and relaxing height and setback requirements.  Color variation is achieved using different upcycled and innovative 3D-printable materials invented by Emerging Objects, including recycled chardonnay grape skins from Sonoma, cement, sawdust, and coffee grounds. Image © Matthew Millman Thusly located in a residential backyard, the one-room gabled structure brings together a collection of performative tile products, from interior translucent glowing wall assemblies to exterior rain screens composed of integrated succulent planters and textural "shingles" that push the boundaries of how quickly one can mass produce 3D-printed architectural components. Over 4,500 3D-printed ceramic tiles clad the exterior of the building. The firm is committed to focusing on upcycling agricultural and industrial waste products, and at times its custom materials sound more like tasting notes from a nearby Napa or Sonoma wine. Grape skins, salt, cement, and sawdust, among others, have been integrated into Emerging Objects' products to create variety among the tiles.  Over 4,500 3D-printed ceramic tiles clad the majority of the building. The calibrated inconsistencies and material behavior make each tile unique. Ever changing shadows transform the cabin's surface throughout the day as each seed stitch tile is gently curved to receive the sun and cast shadows. Image © Matthew Millman The project integrates two types of tiles on the exterior: a "planter" tile on the gable ends, and a shingled "seed stitch" tile wrapping the side walls and roof. The planter tiles offer 3D-printed ceramic shapes that include pockets for vegetation to grow. The seed stitch tiles, borrowing from knitting terminology, are produced through a deliberately rapid printing process that utilizes G-code processing to control each line of clay for a more "handmade" aesthetic. No two tiles are the same, offering unique shadow lines across the facade. The cabin interior features translucent white Chroma Curl wall tiles, made of a bio-based plastic derived from corn. These tiles offer a customized relief texture inspired by the tradition of pressed metal ceilings, which historically relied on mass production through mold-making.  The interior displays 3D printed curiosities, from ceramic vessels, material experiments, and studies. Color changing LED lights, which illuminate the interior through the 3D-printed bio-plastic interior cladding, set a playful mood. 3D-printed furniture and accessories include a pink Picoroco Lamp, coffee table, Coffee-Coffee kettle and cup, and a chair. Image © Matthew Millman It might be too soon to tell, but the 3D-Printed Cabin might be our generation's version of Muuratsalo, Alvar Aalto's classic house circa 1953 experimenting with textured material and architectural form through its construction. "We're building this from our kitchen table, printing parts and testing solutions in real time," said San Fratello. The cabin is a departure from other investigations in 3D-printed dwellings, many of which are unlivable and not aesthetically considered. "These are not just investigations into testing materials for longevity or for structure, but also a study of aesthetics. We see the future as being elegant, optimistic, and beautiful," said Rael.  This posting includes an audio/video/photo media file: Download Now |
| Refurbishment and Extension of San Juan de Dios Hospital / Ah Asociados Posted: 18 Mar 2018 02:00 AM PDT  © Rubén P. Bescós
 © Rubén P. Bescós  Diagrams Text description provided by the architects. This action has been carried out over a building designed by Víctor Eusa in 1935. It was completed in 1943. This modern landmark originally consisted of a main axis and two wings where the architectural program was developed. In the south of this comb figure hospitalization units were placed. In the north the obstetric unit and the chapel almost completed a third wing. The east-west axis ended against a cloister containing a residence for friars and several other support facilities surrounded by garden areas. The hospital was located outside the urban fabric of Pamplona, over a promontory overlooking the plain of the Arga River, the old town with the cathedral towers and the distant landscape.  Elevations  © Rubén P. Bescós As years passed by, the original design was slowly distorted. The enlargement of the hospital program caused important dysfunctions. Increasing incidence of cars and other means of road transport had the effect of replacing garden area by parking area and thus deteriorating its image. Finally, the expansion of the city enveloped the hospital in a low density residential neighbourhood.  © Rubén P. Bescós Considering all these circumstances, the architectural project is aimed towards the recovery of the original values of the building. First, recovering of the old plan criteria enables a harmonic image of both the new and the refurbished building. This also allows a displacement of the relationship between building and its urban surroundings towards the forefront sides of each block the same way it happened in the original building. Second, the comb shaped plan has also a positive impact in urban landscape because the perceived volume is smaller than the real one. This was a key point in the new design because of the low density and mainly single family house area in which the hospital is now located. And third, once the forefront of the plot would become free of the parking space, the hospital is understood as a group of pavilions surrounded by garden areas.  © Rubén P. Bescós A historical research on pictures and elevations of the former building shows both a will of reinforcing horizontal lines and a graceful expressionism in the use of brick walls combined with framed windows.  © Rubén P. Bescós  Implantation  © Rubén P. Bescós  This posting includes an audio/video/photo media file: Download Now |
| Tensile Structures: How Do They Work and What Are the Different Types? Posted: 18 Mar 2018 01:00 AM PDT  Munich Olympic Stadium / Behnisch and Partners & Frei Otto. Image <a href='https://commons.wikimedia.org/wiki/File:Munich_-_Frei_Otto_Tensed_structures_-_5244.jpg'>© Jorge Royan via Wikimedia </a> License CC BY-SA 3.0 Historically inspired by some of the first man-made shelters—such as the black tents first developed using camel leather by the nomads of the Sahara Desert, Saudi Arabia, and Iran, as well as the structures used by Native American tribes—tensile structures offer a range of positive benefits compared to other structural models. Tensile structure is the term usually used to refer to the construction of roofs using a membrane held in place on steel cables. Their main characteristics are the way in which they work under stress tensile, their ease of pre-fabrication, their ability to cover large spans, and their malleability. This structural system calls for a small amount of material thanks to the use of thin canvases, which when stretched using steel cables, create surfaces capable of overcoming the forces imposed upon them. Predominantly used in coverings of sports centers, of arenas, and industrial and agroindustrial constructions, tensile structures are based on the old systems used during the Roman Empire. However, from the Roman period until the mid-20th century, due to the low demand, usability, and lack of manufacturers of cables, canvasses, and connections capable of resisting the forces generated, there were few technological advances. It was only after the Industrial Revolution and the triggering of the era of Fordism that new developments were able to meet the intrinsic needs of this construction system. The low cost of mass production and the demand for systems capable of adapting to the most varied terrains with large spans, such as circus tents for example, encouraged the development of the technique.  Munich Olympic Stadium / Behnisch and Partners & Frei Otto. Image <a href='https://www.flickr.com/photos/57511216@N04/6583372233/in/photolist-b2KvcP-fNXihy-eaJSyu-YQkWig-bE1kPw-ba442a-4m1sDv-au5xNt-4m1skM-68LXjD-aj9U5Q-n9ZTpc-4m5uM7-bznKaE-au5xr4-bznTV3-gZSr4m-4m5ubJ-8u7nfP-dmEfVr-c2a12N-egdCtn-8u7nFk-c29YVS-7hyuu4-c29Zmm-4JEdFN-8uat85-egdA1r-8u7nKV-c29ZKQ-6TYUQX-4JEdoh-8ToTH9-fNXinW-4JEdMN-c29Z1d-5aidgt-c29ZgU-4JzZ8k-c29ZaW-8L5a2w-egjnE1-ddkoy7-8ToVhE-4V3vNm-4JEet3-8uash9-8L5b2f-zBusmf'>© Daniel via Flickr</a> License CC BY 2.0 The instability caused in previous models by the application of interlaced cables and very light covers, resulting in structural deficiencies, was solved during the middle of the last century. This was done thanks to a system of steel cables and fiber membranes with a high degree of strength, together with layers of waterproof coatings, giving protection against ultraviolet rays, fungus, fire, and allowing greater or less translucency and reflectivity. Such progress was only possible thanks to the physical-structural studies initiated by German architect and engineer Frei Otto, who since the 1950s conducted the first scientific studies and the first works of roofing using tensioned steel cables combined with membranes. As a student, Otto visited the office of Fred Severud, where he saw the Raleigh Arena in North Carolina and was impressed by the bold aesthetics and propitious comfort of the project. Back in Germany, he began to explore small-scale physical models, empirically generating several surfaces, by means of chains, pulled cables, and elastic membranes. Convinced by the usefulness of tensioned roofs, he developed the first large-scale project using the system, which later enabled projects including Olympic stadiums, clubs, zoo, and pavilions. In 1957 he founded the Center for the Development of Light Construction in Berlin. Seven years later, in 1964 he created the Institute of Light Structures in Berlin at the University of Stuttgart, Germany. _before_roof_was_installed._October_15th_1952_(21981642200).jpg "Raleigh Arena / Fred Severud. Image <a href='https://commons.wikimedia.org/wiki/File:Cattle_judging_event_at_Dorton_Arena_(Cow_Palace)_before_roof_was_installed._October_15th_1952_(21981642200).jpg'>© Fæ via Wikimedia</a>") Raleigh Arena / Fred Severud. Image <a href='https://commons.wikimedia.org/wiki/File:Cattle_judging_event_at_Dorton_Arena_(Cow_Palace)_before_roof_was_installed._October_15th_1952_(21981642200).jpg'>© Fæ via Wikimedia</a> Author of notable projects passed by experiments and technical refinement, such as the German Pavilion for the 1967 Expo in Montreal and the Munich Olympic Stadium in 1972, the architect is renowned for his intense research work and was honored with the RIBA Royal Gold Medal in 2006 and the 2015 Pritzker Prize. Frei Otto is still responsible for the first comprehensive book on tensile structures—"Das Hangende Dach" (1958)—and intensified the idea of reinventing material rationality, prefabrication, flexibility and luminosity over internal space, and even sustainability, when the term was not yet used in architecture. There are three different main classifications in the field of tensile construction systems: membrane tensioned structures, mesh tensioned, and pneumatic structures. The first relates to structures in which a membrane is held by cables, allowing the distribution of the tensile stresses through its own form. The second case corresponds to structures in which a mesh of cables carries the intrinsic forces, transmitting them to separate elements, for example, sheets of glass or wood. In the third case, a protective membrane is supported by means of air pressure. Structurally, the system is formalized by combining three elements: membranes, rigid structures such as pole and masts, and cables. The membranes of PVC-coated polyester fibers have greater ease in factory production and installation; lower cost; and medium durability—around 10 years.  Munich Olympic Stadium / Behnisch and Partners & Frei Otto. Image <a href='https://www.flickr.com/photos/eager/17094374255/in/album-72157651280449886/'>© 準建築人手札網站 Forgemind ArchiMedia via Flickr </a> License CC BY 2.0 PTFE-coated glass fiber membranes have superior durability—around 30 years; and greater resistance to the elements (sun, rain, and winds); however, they require skilled labor.  National Stadium of Brasilia "Mané Garrincha" / Castro Mello Architects. Image © Bento Viana In this system, there are two types of support: direct and indirect. The direct supports are those in which the construction is arranged directly on the rest of the building structure, while the second case is arranged from a raised point such as a mast. The cables, which are responsible for the distribution of the tensile stresses and the hardening of the canvasses, are classified in one of two ways according to the action which they perform: load-bearing and stabilizing. Both types of cable cross orthogonally, ensuring strength in two directions and avoiding deformations. The load-bearing cables are those that directly receive the external loads, fixed at the highest points. On the other hand, the stabilizing cables are responsible for strengthening the load-bearing cables and cross the load-bearing cables orthogonally. It is possible to avoid attaching the stabilizing cables to the ground by using a peripheral fixation cable. Further, some nomenclatures for different cables are generated according to their position: a ridge-line cable refers to the uppermost cable; while valley cables are fixed below all other cables; radial cables are stabilizer cables in the form of a ring. Ridge-line cables support gravitational loads while valley cables support wind loads.  Nomenclatures of the cables (translations from Portuguese: "Cabo Periférico"=Peripheral Cable; "Cabo de Crista"=Ridge-Line Cable; "Cabos de Vale"=Valley Cables; "Cabos Estabilizantes"=Stabilizing Cables). Image © Matheus Pereira Here are some projects already published on Archdaily using tensile structures: Munich Olympic Stadium / Frei Otto + Gunther Behnisch Munich Olympic Stadium / Behnisch and Partners & Frei Otto. Image <a href='https://www.flickr.com/photos/schmollmolch/8233735185/in/photolist-dxA3Bt-dmE3Mb-RTcdSo-8DrTEN-8DoPvF-8DrSj9-he3HK7-bPTqfe-8L2uf6-dmE7mB-dmE8BP-nxca-dmEguU-bSV5te-zBFNnF-5jEmzd-VTKoGs-bE1kPw-68LXjD-8DoP3K-FdLXBz-atK7FP-5r1pJ-6EY13j-5jA5BK-8DoL9X-schro-oQEgnF-6DJhGS-TwB171-nxas-bAYL81-4Ub8vS-MUZiQM-eBxph8-PKeJTX-5ccQsd-5c8yLx-5c8Aqp-eBAxPN-FdLXB4-mjH4XK-NdSKj-mjJUz1-mjKdsq-ZZev1T-5c8zkF-bPTppp-7afCkh-5ccRvU'>© Christian Scheja via Flickr</a> License CC BY 2.0 German Pavilion at Expo 67 / Frei Otto + Rolf Gutbrod German Pavilion at Expo 67 / Rolf Gutbrod. Image <a href='https://www.flickr.com/photos/mcgill-library/34022056762/in/photolist-UDi76k-UDi79X-98ECYH-TQpWay-UDi7dz-TQpWbW-s3runy'>© McGill Library via Flickr</a> License Public Domain Mark 1.0 Millennium Dome / Richard Rogers (RSHP) Millennium Dome / Richard Rogers (RSHP). Image <a href='https://www.flickr.com/photos/jamesjin/58712717/'>© James Jin via Flickr</a> License CC BY-SA 2.0 Denver Union Station / SOM Denver Union Station / SOM. Image © Robert Polidori St. Christopher's Pavilion / Sérgio Bernardes St. Christopher's Pavilion / Sérgio Bernardes. Image via Bernardes Arquitetura Maracanã Stadium Roof Structure / Schlaich Bergermann und Partner Maracanã Stadium Coverage / Schlaich Bergermann und Partner. Image © Marcus Bredt cortesia de Schlaich Bergermann und Partner Brasilia National Stadium / gmp Architekten + schlaich bergermann und partner + Castro Mello Arquitetos National Stadium of Brasilia "Mané Garrincha" / Castro Mello Architects. Image © Bento Viana References ARCOLINI, Tatiana; BARRADAS, Paula. Coberturas tensionadas são soluções eficientes e econômicas. Available at: <https://www.aecweb.com.br/cont/m/rev/coberturas-tensionadas-sao-solucoes-eficientes-e-economicas_7990_10_0>. Acessed on 24 Dec 2017.  This posting includes an audio/video/photo media file: Download Now |
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