Arch Daily |
- The Brain Embassy / mode:lina architekci
- AKK Studios / Fourthspace
- Yueyue Bookstore / Atelier Archmixing
- Cultural Center and Library ‘De Factorij’ / Archiles architecten & ebtca architecten
- Triangle Hotel / TAG
- Base Zhangjiang / MASS DESIGN
- Yuhantechnos HQ / MMKM associates
- ASH Shanghai / Francesc Rifé Studio
- House VAP / Ney Lima
- Self-Driving Uber Car Kills Pedestrian in Arizona
- Riken Yamamoto's "Hill" Wins Competition for Taiwan Art Museum
- Zempoala 267 Building / GDE Grupo Diseño y Espacios
- First Images Released of Rogers Stirk Harbour + Partners' Toronto "HUB" Tower
- Montaña en la Luna / ENORME Studio
- A Simple Guide to Studying for the ARE 5.0
- Campo Oeste House / Poggione + Biondi Arquitectos
- Furniture Designed by Brazilian Architects
- Why Does The Gender Pay Gap Issue Make People Uncomfortable?
- Mandal Slipway Housing Complex / Reiulf Ramstad Arkitekter
| The Brain Embassy / mode:lina architekci Posted: 19 Mar 2018 10:00 PM PDT  © Patryk Lewiński
 © Patryk Lewiński Text description provided by the architects. The Brain Embassy offers spaces where you can work while on the move, rest by meditating or cycling. You are only restricted by your own imagination. A cooperation of Adgar Poland with mode:lina studio designers resulted in the Brain Embassy brand being spatially complemented by a motif of "synapses" running across the whole interior.  © Patryk Lewiński There are over 100 billion neurons in a human brain. Thanks to them we think, act and discover. There are even more synapses, which pass information in our brain! Taking those facts and the visual identity system into consideration, mode:lina designers created a space completely in tune with the human mind.  © Patryk Lewiński Visitors to The Brain Embassy in Warsaw's Mokotów are, from the very entrance, led right through the entire interior by three-dimensional elements, inspired by neurons and synapses. Just like impulses pass through them in our brain, steel synapses constructions pass through several The Brain Embassy zones, and link innovative areas of this co-creating.  © Patryk Lewiński When co-working is not enough, it is worth taking yet another step forward. Not only co-share and discover, but also inspire one another. That is why The Brain Embassy is more than just a workplace, it is also an environment where a well-knit community is formed. Adgar Poland, who introduced The Brain Embassy concept to the Polish market, provided Polish entrepreneurs with a unique interior, and also with a unique business model, which allows the companies to keep their own working style in this creative environment of the highest quality, designed by mode:lina studio. The Brain Embassy has set a new trend with the aim of not only providing a beautiful and functional office, but most importantly of establishing an engaged community of people who work in it and co-create it.  © Patryk Lewiński mode:lina architects filled this new The Brain Embassy interior with many surprises. They are to stimulate the imagination during work. Conference rooms are dedicated to great minds: mathematicians (a large abacus), artists (floors with a pattern of splattered paint), chemists (chemical elements), architects (building blocks), scholars (library), photographers (a studio) or fashion designers (tailor cut-outs). Smaller rooms are joined by a synapses-filled large multiroom with tables suspended from the ceiling.  Sketch  Sketch In the new headquarters of The Brain Embassy co-creating in Warsaw, everyone will find a space which will suit their company's needs and match their character. You can work in a quiet library room, share ideas and inspirations in a large open-space zone filled with mind maps, or meet your client in an urban square full of trees. It all depends on how far your own imagination goes!  © Patryk Lewiński  This posting includes an audio/video/photo media file: Download Now |
| Posted: 19 Mar 2018 08:00 PM PDT  Courtesy of Fourthspace
 Courtesy of Fourthspace Text description provided by the architects. Fourthspace has completed a series of new artists' studios as part of an extension and renovation in East London's famous Vyner Street. Working closely with the resident artists, the new spaces have been tailored to their specific needs with bespoke artworks incorporated into the building itself.  Section AKK Studios is a collaborative project between architects and artists and is therefore named for its three occupants, sculptor Kevin Francis Gray, artist Keith Coventry and artist/collector Alireza Abrishamchi. Fourthspace, owners of the nearby restaurant Ombra (also on Vyner Street), knew the clients from the local Hackney area and set about creating three open and elegant studios that retains the raw feel of a workshop and design elements that reflect the craft of each artist.  Courtesy of Fourthspace The challenge for Fourthspace was to create a four-storey studio out of the existing low-level Victorian building. The original interior was found to be in poor condition and was stripped back, with a new steel framework installed in its place, providing each artist with just over 1000sqft of space, completed at the cost of £150per square foot. The brick facade was retained and two additional floors have been added to the building, clad in dark zinc, providing the studios with a contemporary identity. The top most floor is occupied by the architects themselves in a garret-like loft space.  Floor Plan The varying interior spaces are unified by a cohesive design aesthetic, achieved with raw and basic common parts featuring exposed galvanised conduits, copper piping, raw steel stairs, and fluorescent tube lighting. The overall feel when entering the spaces is a mixture between light industry and a traditional artist's studio.  Courtesy of Fourthspace The renowned Irish sculptor, Kevin Francis Gray, occupies the ground floor of AKK Studios, who has exhibited internationally and is represented by Pace Gallery. Fourthspace created a nod to the artists' work with a bespoke kitchen wrapped in marble mined from the very same quarry as used in Gray's sculptures. The floor is completed with a series of Crittal screens and doors that partition an outdoor terrace and internal office space, ensuring that the office retains its sense of openness. One of the screens features a custom-made stained glass art piece by John Reyntiens, blending art and architecture.  Courtesy of Fourthspace The first floor is home to artist and curator, Keith Coventry, also represented by Pace Gallery. His double-aspect studio comes with a fully glazed rear elevation leading to a planted terrace. Coventry's own art-work is built into the fabric of the cladding of the terrace, with the undercroft of the balcony finished by re-using copper sheets from a discarded piece of art.  Courtesy of Fourthspace
 Courtesy of Fourthspace The top floor is completed with an office space inspired by the idea of the 'artist's garret'. A secretive feel is created for this workspace that hides inside the top of the concave zinc-roof structure, which offers the occupants views out of wide-open windows overlooking Hackney.  Courtesy of Fourthspace Steve Sinclair, Co-founder and Director of Fourthspace Studios said of the project "The main drive behind AKK Studios was to make spaces for the artists to enjoy working in. These would be uncomplicated, raw, but sensible and cohesive at the same time. We maximised the floor space and kept costs down, quality of light was in different ways important for each floor, and collaboratively we were able to incorporate artwork into the fabric of the building. We love working in the same building as such talented artists and we feel we have enhanced Vyner Street and its community."  Courtesy of Fourthspace Occupied since 2016 with finishing touches completed in 2017, AKK Studios' collaborative ethos between architect and artists will further develop with ever-evolving work on aspects of the internal spaces and new features incorporated into the building. This ongoing process is a natural consequence of a group of creatives under one roof inspired and influenced by each other's work.  Floor Plans AKK Studios was welcomed by planners for its material consideration to the nearby Regents Canal Conservation Area, which sits in the middle of Vyner Street. AKK Studios, is one of two projects in Vyner Street that Fourthspace have worked on for contemporary artists. The other being 60-62 Vyner Street a studio for artists Michael Landy & Gillian Wearing, which recently received planning consent. Both projects see a shift in the life of Vyner Street, an area once famous for its galleries, now attracting working studios for renowned artists, makers, architects and designers.  Courtesy of Fourthspace  This posting includes an audio/video/photo media file: Download Now |
| Yueyue Bookstore / Atelier Archmixing Posted: 19 Mar 2018 07:00 PM PDT  © Qingshan Wu
 Yueyue bookstore on the Guoquan Road. Image © Qingshan Wu Text description provided by the architects. Under a narrow canopy, two doors are designed as one element, just like a butterfly with two butterfly wings. The two doors guide the visitors into two bookstores with different function and atmosphere. Like the two doors, the two bookstores are also nested in one 94sqm space.  One Element with two doors for two bookstores. Image © Qingshan Wu One bookstore unfold books on Literature, History and Philosophy in zigzag deep corridors like a library, while the other one for general booklovers has been sculpted as a relaxed and charming reading hall.  Concept Model Guoquan Road  Two doors as one like butterfly wings of a butterfly. Image © Qingshan Wu  sorting devices Guoquan Road used to be famous as a place with lots of literature bookstores. With the rise of online bookstores, most bookstores on this road disappeared, just like all the other bookstores. In recent years, however, there has been a new trend to build bookstores, and mostly in the mode of "bookstore +". The consumption upgrade and the rise of lifestyle aesthetics in the city is the main motivator behind. In such an ordinary urban block as Guoquan Road, is it still possible to create a bookstore that is simple but with personality in both function and details?  Different atmosphere at the entrance. Image © Qingshan Wu Two bookstores  Axonometric Analysis This couple client both agreed to update and upgrade the store, but they had different ideas on the identity of the bookstore. Zou wouldn't give up his interest in liberal arts; he wanted to run a bookstore focusing on literature, history and philosophy. While Luo was more pragmatic: considering the trend of the market, she would prefer to have a general bookstore, that could also hold activities such as off-line meet, parent-child activities, etc. The designer thus proposed: why don't we build two bookstores?  The bookstore for Liberal Arts. Image © Qingshan Wu  The details of bookcase The general bookstore requires a larger internal space to accommodate activities, while a bookstore for liberal arts could run in a narrow space like the library stacks. The way to organize and mix these two function is the key.  activity in general bookstore. Image © Qingshan Wu Metal Craft and Mechanical Design  The general bookstore with bright atmosphere. Image © Qingshan Wu  The detail of the bookcase Each of the two doors weighs more than 300 kg. In order to make it work, we worked together with professional engineers and workers and studied the details of the door carefully. The two doors were installed and connected with one vertical steel shaft, forming a page-like relationship, so that you can open the two doors simultaneously. At the same time, the door shaft was designed with multi-layer bearings that were nested with each other, to avoid the deformation of the steel shaft, which might cause the doors unable to open smoothly.  reception. Image © Qingshan Wu To design a bookstore for books  The bookstore for liberal arts dark and sedate. Image © Qingshan Wu  This posting includes an audio/video/photo media file: Download Now |
| Cultural Center and Library ‘De Factorij’ / Archiles architecten & ebtca architecten Posted: 19 Mar 2018 05:00 PM PDT  © Dennis De Smet
 © Dennis De Smet Text description provided by the architects. The original terrain was an elongated area between backdoors, garden walls and a railway track. The site was subject to strict building regulations. Developing the site meant a social and cultural injection for the city centre.  © Dennis De Smet  © Dennis De Smet Taking the vibration measurements of the railway into account, the theatre with 700 seats, was planned at a minimum distance of 60 meters from the tracks. Because of the strict building height as well as acoustics, the theatre was designed partially underground following the 'box within box' principle.  © Dennis De Smet  Perspective  © Dennis De Smet In search of the perfect acoustic design, the theatre evolved in to a shell shaped plan, in which a sense of security is provided. The distinct shape of the theatre is undoubtedly visible in the adjacent areas, such as the entrance hall, foyer and bistro. The centrally located café provides the link between de cultural facilities and the new library. In addition to the theatre, the program consists of a multipurpose room with a capacity of 350 people, a ballroom dance hall with a capacity of 150 people, several dressing rooms and offices. The theatre is provided with a fully-equipped stage tower, storage and a mobile orchestra pit for approximately 30 musicians.  © Dennis De Smet The philosophy of the entire design fits within the concept of sustainable building: the economical use of energy and development of new ideas which create honourable results with minimal resources.  © Dennis De Smet  © Dennis De Smet Next to the cultural centre an above ground parking lot was provided for 82 vehicles, because of insufficient parking space within the immediate vicinity of the site. However, if necessary an underground parking garage of 2 layers (143 parking spots) can still be established in the nearby future, as this was taken into account during the design process. The underground parking garage will have a direct entrance to the cultural centre, as the multipurpose space is situated at level -1.  © Dennis De Smet  This posting includes an audio/video/photo media file: Download Now |
| Posted: 19 Mar 2018 03:00 PM PDT  Courtyard. Image Courtesy of TAG
 Open Space. Image Courtesy of TAG Half Architecture  Courtyard. Image Courtesy of TAG Triangle Site  model. Image Courtesy of TAG  1st Floor Axonometric  Model. Image Courtesy of TAG Wood Structure  Balcony. Image Courtesy of TAG Real Material  Elevation. Image Courtesy of TAG  Elevations  Guest Room. Image Courtesy of TAG Narrative Detail  Stairs. Image Courtesy of TAG  This posting includes an audio/video/photo media file: Download Now |
| Posted: 19 Mar 2018 01:00 PM PDT  © Victor Marvillet, Yu Xia
 © Victor Marvillet, Yu Xia Text description provided by the architects. This project is located in Pudong New District on the east side of Shanghai's Huangpu River. The neighborhood, Zhangjiang High-Technology Park, is home to some of China's largest IT companies, most dynamic start-ups, and several research facilities. Although this industry has earned the area the title of 'China's Silicon Valley', the streets empty at the end of every work day. This was the context for the project: what began as the defunct Long Dong Business Hotel, originally built in an older style as part of a larger complex, would become a space to bridge the gap between office life and leisure.  © Victor Marvillet, Yu Xia With no options for recreation, MASS DESIGN set out to create community in an area where there was none. By exploring the interplay between connection and permeability, MASS DESIGN reprogrammed the former hotel to renegotiate the boundaries of public and private space, mimicking the layers of a traditional urban environment. Retail and F&B occupy the ground floor and open plan offices the second, followed by 24 SOHO units on the three upper floors and 60 apartment units on the top three floors. Common spaces enhance interaction and sense of community, including a gym, meeting rooms, game room, reading room, video room, and shared kitchen and dining with a rooftop terrace for events like barbecues or other social gatherings.  Facade  © Victor Marvillet, Yu Xia The building's previous incarnation as a hotel had sorely lacked natural light. Its small and cramped atrium and long, narrow corridors made for dark and uninviting space. Working within the existing constraints of form and construction, MASS DESIGN sought to achieve a relationship between inhabitant and building, function and context. To allow in more natural light, the structure was altered to create a larger central atrium. MASS DESIGN programmed openings as large as possible, cleaned the building of all excess, and created additional spaces to gather and interact.  © Victor Marvillet, Yu Xia  SOHO  © Victor Marvillet, Yu Xia The same desire for interplay between public and private spaces inspires design decisions for the SOHO and apartment units. Spaces intended for communal use such as the living room, dining room and SOHO working spaces are oriented towards the atrium. Through the translucent glass brick used in the walls, those outside are able to glimpse the scenes of life lived out within.Moreover, units are organized around a centrally-placed wooden box with sliding doors. The effect are social spaces filled with as much natural light as possible. The wooden box is also elevated 400 mm above the floor of the apartment in order to create different spatial atmospheres, enhance division between semi-private and private spaces, and create additional storage space.  © Victor Marvillet, Yu Xia  Floor Plan  © Victor Marvillet, Yu Xia Glass brick wraps through the atrium and corridors to bring in more natural light while at the same time creating a sense of scale and rhythm. Terrazzo and wood are incorporated throughout the project in order to ground the building in a local context, and imbue the space with the emotion of human scale.  © Victor Marvillet, Yu Xia  This posting includes an audio/video/photo media file: Download Now |
| Yuhantechnos HQ / MMKM associates Posted: 19 Mar 2018 12:00 PM PDT  © Hanul Lee
 © Hanul Lee Text description provided by the architects. On April 2015, Yuhantechnos Co., Ltd. a middle-sized company providing IT solutions of logistics distribution has commissioned a new head office building project. To meet the client, when I visited the office located in an apartment-type factory in Mullae-dong, I found the typical problem of the apartment-type factory that as the width and depth of building is long and the ceiling height is low, the working environment of workers in the center of business space is becoming poor.  © Hanul Lee The site of new building is located in the north-east corner of crossroad, D17-7, Magok district, Gangseo-gu, Seoul, looking toward south and west which is disadvantageous location condition as an office. In addition, as it is close to relatively big scaled sites, it seems that the building may look small. Despite of that, the neighboring land condition that is completely empty without other buildings enables architect to imagine freely.  © Hanul Lee To design the space with dignity for the HQ. building of the growing middle-sized company, I divided the office area and service area and connected them by an atrium of the first floor and second floor and a courtyard of the third floor and fourth floor. By connecting the bridge outside of the atrium on the second floor and over the courtyard on the fourth floor, I provided the outside resting space at each floor. In addition, I made workers feel the sufficient openness in any space of office area by reducing the depth of the space and raising the height of ceiling and making the inside space facing the atrium and courtyard To prevent the strong sunlight in the afternoon from south-west, I arranged a series of long hexagonal aluminum sheets toward south-west corner correctly and connected the other series of glasses among them, and the glass part of the west façade faces north-west and that of the south façade faces south-east. As a result, looking at the building from south-west corner, the building becomes origami shape that west façade and south façade are correctly symmetric.  © Hanul Lee  Plan 4  © Hanul Lee The image created by the appearance of the building is changing according to the view, time and climate condition. The building appearance with looking-folded origami shape produces very changeable image according to the position of viewer. In addition, aluminum sheet and glasses encounter the harmony of sun and sky which doubles the change. As a result, the shape of stationary building produces new images continuously according to the situation.  Section The contemporary society enabled interactive communication that anyone can produce and consume images easily through online media. The images produced through this process are reproduced, consumed and amplified continuously which finally create the meaning and value beyond the text. If the output of architectural work basically producing the physical object can produce different images according to environment and situation, the anonymous individual who consumes these images can secure different open sources for reproduction. And then we can expect the phenomena that images can be amplified through the process of consumption and reproduction on the medium and generate different meaning and value.  © Hanul Lee Eventually, images in contemporary architecture, especially the images created by the façade are open sources that anonymous publics can make interactive communication, which can function as public goods. Thus, the building becomes to secure the identity from the public and the public can enjoy the building as consumer and producer of the image.  © Hanul Lee  This posting includes an audio/video/photo media file: Download Now |
| ASH Shanghai / Francesc Rifé Studio Posted: 19 Mar 2018 10:00 AM PDT  © David Zarzoso
 © David Zarzoso Text description provided by the architects. Fashion and footwear brand ASH commissioned Francesc Rifé to create the new design concept for its stores around the world. While the new language sought to recall forms suggested by the architecture of contemporary cities, that the first two stores to debut with this image were located in Shanghai has served to use as inspiration a traditional construction technique in Asia: the bamboo scaffolding.  © David Zarzoso  Raffles city Store  © David Zarzoso Located in the mall centers Raffles City Changning, in the heart of the Zhongshan business district, and Plaza 66, one of the most important commercial spaces in China, the design of these two stores is marked by a structure that order the space, allow the products be displayed and through it the brand begins a new path to prêt-à-porter. These metal tubular frames, executed in sulfurized brass with a very dark finish, joined as if they were knotted together as bamboo scaffolding, resulting in a very clean and unique grip. Thus the end result was a mesh with great dynamism.  © David Zarzoso The hard lines of this brass spine is defined from one of the most important elements of the project: a golden partial ceiling, symbol of the personality of ASH. It is characterised for integrating multiple holes from which light is projected, following the needs of the space; while other orifices are prepared to add lamps and hanging shelves, at the same time that they allow to fix the main structures. The lighting of this area is defined by spots with a very small size, to illuminate the product properly, giving as a result a starry sky.  © David Zarzoso Another of the main materials of the new image is undoubtedly concrete, projected in both vertical walls, floors and ceilings, spreads each and every one of the elements of the set. A reference to the constructive phenomenon of the city that in turn gives the project a neutral base, and helps to the ceiling and structure come quickly into focus.  © David Zarzoso At the same time, the waiting area is dressed by the Kong armchair by JMM, complemented by side pieces in green marble and natural wood. The vocabulary developed for the stores is completed with the fitting room area designed in aged mirror that adds an extra dimension to the experience of visitors.  © David Zarzoso  This posting includes an audio/video/photo media file: Download Now |
| Posted: 19 Mar 2018 08:00 AM PDT  © Edgard César
 © Edgard César Text description provided by the architects. The VAP House project, located in a residential area of Brasilia, started from the identification of the client with the minimalist and authorial style of the architect Ney Lima.  © Edgard César Thus, the residence was idealized in straight lines and with details in apparent concrete. The house has 696.5sqm in a land of 800sqm with the work completed in 2015.  © Edgard César The differential in this project is in the volumetry of the house. The main facade is marked with an apparent reinforced concrete portal that defines the main access through an immense steel door cut 6m high that contrasts with the cobogos, allowing a set of lights and textures.  Lower Floor Another highlight in the work is the external staircase, located on the rear facade of the house, in reinforced concrete, which gives access to the gym on the upper deck. The living, dining and social areas are all integrated and have sliding glass doors, allowing the union with the balcony and gourmet kitchen, which in turn integrate with the kitchen and the external leisure area, with SPA, Deck and pool on the ground floor.  © Edgard César On the upper floor there are four suites, interconnected by a large gallery, which allows the privacy of the residents. This gallery gives access to a gym communicates with the leisure area and pool by the external staircase.  © Edgard César  This posting includes an audio/video/photo media file: Download Now |
| Self-Driving Uber Car Kills Pedestrian in Arizona Posted: 19 Mar 2018 07:01 AM PDT  © <a href='https://commons.wikimedia.org/wiki/File:Uber_self_driving_car.jpg'>Wikimedia user Diablanco</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> Since the concept of driverless cars first became a serious prospect, a lot of attention has been given to the possibility of their malfunction—if an autonomous vehicle damages property or even harms a human, who is at fault? And, given a worst-case scenario, how should a vehicle's software choose between whose lives it prioritizes, the passenger or the pedestrian? This last question even became the basis for the Moral Machine, an online platform created by the MIT Media Lab that essentially crowdsources public opinion on different variations of the classic trolley problem thought experiment. However, all of these questions had been considered largely theoretical until last night when, as The New York Times reports, a woman was struck and killed by an autonomous vehicle in Tempe, Arizona. In what is believed to be the first case of an autonomous vehicle killing a pedestrian, the vehicle—which is owned by Uber and was part of their test fleet operating in Tempe, Pittsburgh, San Francisco and Toronto—killed a woman who was crossing a street outside of a designated crosswalk. At the time, the vehicle was in autonomous mode, though it did have a human "safety driver" at the wheel. According to The New York Times, Uber has stated that it is "fully cooperating" with the local authorities regarding the issue and has suspended testing of its self-driving cars in all four cities. Update: As per a report by Slate, the woman killed in the accident was named as 49-year-old Elaine Herzberg. She was struck while crossing North Mill Avenue, an 8-lane road with only one crosswalk in almost 2 miles. News via The New York Times, Slate. How Driverless Cars Could, Should - and Shouldn't - Reshape Our Cities  This posting includes an audio/video/photo media file: Download Now |
| Riken Yamamoto's "Hill" Wins Competition for Taiwan Art Museum Posted: 19 Mar 2018 07:00 AM PDT  Courtesy of Riken Yamamoto & Field Shop Riken Yamamoto & Field Shop has released images of the proposed Taoyuan Museum of Art in Taiwan, having won an international competition for the scheme's design in 2018. Acting as a symbolic gateway to the heart of the city, the architect's vision was for a hub where every visit leads to new discoveries and experiences. Named "The Hill," the competition-winning scheme is defined by a sloping green roof, hosting artwork, pavilions, trees, and an outdoor theater. Beneath the roof, a structure named "The Cube" contains permanent exhibitions and collections, and establishes a link between the museum and Blue Pond Park beyond.  Courtesy of Riken Yamamoto & Field Shop  Courtesy of Riken Yamamoto & Field Shop Protruding from the roof, multipurpose "box" structures offer commercial space for exhibiting and selling artwork, linked by a gentle ramp weaving across the hill. As the incline meets a public art plaza, embedded seating offers viewing positions for interested spectators.  Courtesy of Riken Yamamoto & Field Shop  Courtesy of Riken Yamamoto & Field Shop In an urban context, the scheme seeks to create a hub connecting the city's transportation and entertainment sectors. Anticipating a growth in demand for artists' residences and shops following the museum's completion, the scheme seeks to introduce an urban grid for future development.  Courtesy of Riken Yamamoto & Field Shop For the scheme's design, Riken Yamamoto & Field Shop worked in collaboration with Joe Shih Architects, THR ARTECH, Ove Arum & Partners, Nagata Acoustics, and Izumi Okayasu Lightning Design. News via: Riken Yamamoto & Field Shop  This posting includes an audio/video/photo media file: Download Now |
| Zempoala 267 Building / GDE Grupo Diseño y Espacios Posted: 19 Mar 2018 06:00 AM PDT  © Angelica Ibarra
 © Angelica Ibarra Text description provided by the architects. The set was developed along the property in two independent units perpendicular to each other to achieve better privacy, lighting and sunlight of each space; achieving in turn, units of totally free surfaces under the structural design from the foundation, embedded slabs and apparent concrete cartels. With the integration of these elements, a set with apparent finishes in its entirety is proposed, linking in the same way with the exposed facilities.  Lower Plan The set is maintained with a homogeneous image both inside and outside. In the main facade, a brick curtain of special proportions is integrated for its operation, which is used throughout the whole, with a mobility that allows the control of the solar incidence.  © Angelica Ibarra In the free floor by department private spaces are distributed through glass screens and ironwork, carpentry elements, closets and bookshelves; thus allowing 100% living the surface that forms it, generating versatility to create a space of more personalized uses.  © Angelica Ibarra  Third Floor Plan  © Angelica Ibarra The image of the whole both inside and outside was conceptualized with a criterion that expressed simplicity and cleanliness in order to generate a friendly space, casual with the environment and that together with the diversity of the homes inside, denote a practical and simple housing to live.  © Angelica Ibarra  This posting includes an audio/video/photo media file: Download Now |
| First Images Released of Rogers Stirk Harbour + Partners' Toronto "HUB" Tower Posted: 19 Mar 2018 05:00 AM PDT  The scheme is set to be a dominant fixture on the Toronto skyline. Image Courtesy of RSHP London-based Rogers Stirk Harbour + Partners has released the first images of their 1.4-million-square-foot (130,000-square-meter) commercial tower for Toronto, Canada. Having won an international competition for the design of "The HUB" in 2017, the RSHP scheme has progressed with the potential to become a dominant fixture on the Toronto skyline.  The exterior of 30 Bay Street is driven by structural steel, transparency, and connectivity. Image Courtesy of RSHP
Located at 30 Bay Street in Toronto's South Core, "The HUB" will feature column-free office space and the potential for multi-story atria, with an exterior driven by structural steelwork, transparency, and connectivity to the existing urban fabric.
News via: Rogers Stirk Harbour + Partners  This posting includes an audio/video/photo media file: Download Now |
| Montaña en la Luna / ENORME Studio Posted: 19 Mar 2018 04:00 AM PDT .jpg?1520420873 "© Javier de Paz García") © Javier de Paz García
.jpg?1520421657 "© Javier de Paz García") © Javier de Paz García Text description provided by the architects. Every day we all become increasingly aware of the need to improve our habits and the collective awareness about our environment, although nonetheless our cities—gigantic and vast—are often far from reflecting this change of paradigm. It is urgent that, as citizens we contribute, along with different players like designers, public institutions, brands… and to start to collectively rethink new collective visions for our cities, which can regenerate the urban landscape in a way cohesive with people and their environment. .jpg?1520420940 "© Luis Alda") © Luis Alda For this reason, MINI and Enorme Studio, a young design firm specialising in the public space and participative dynamics is making an original proposal, with an installation situated in the mythical Plaza Santa María Soledad Torres Acosta in Madrid. This installation, in addition to being a meeting point for design and the city, will concern itself with the use of renewable energies. It will have USB charging points and reading points lit by solar energy, as well as the possibility to charge devices with the kinetic energy generated by movement. This new habitable and efficient equipment will try to work on the most pressing challenges of daily life.  Scheme  Scheme  Scheme For over a year MINI has been in the Malasaña neighbourhood with its space open to creativity, the MINI Hub, which is now opening up to the outside with this installation. The inside will be invaded by meetings between designers who are rethinking new ways of making a city: city furniture workshops entitled Bench a Day, which will develop new ideas for urban benches; talks on interactive urban stages; new public space laboratories; and talks-debates on how cities of the future will be. All these activities will handle urban design and the city as their main topic to work on in a collaborative, trans-disciplinary and intergenerational way. .jpg?1520420924 "© Javier de Paz García") © Javier de Paz García Montaña en la Luna represents an opportunity to experiment based on the idea of a designer office and portable architecture, on the street and close to users, with which any and all new proposals for cities of the future must be co-designed. This new endeavour by MINI is framed within its objective of improving urban life, contributing to a rational use of resources and maximising the motto 'Creative Use of Space' inherent to the brand's DNA. .jpg?1520421033 "© Javier de Paz García") © Javier de Paz García  This posting includes an audio/video/photo media file: Download Now |
| A Simple Guide to Studying for the ARE 5.0 Posted: 19 Mar 2018 02:30 AM PDT _(1).jpg?1521456027 "<a href='https://www.archdaily.com/871156/underground-forest-in-onepark-gubei-wutopia-lab'>Underground Forest in Onepark Gubei / Wutopia Lab</a>. Image © CreatAR - AI Qing & SHI Kaicheng") <a href='https://www.archdaily.com/871156/underground-forest-in-onepark-gubei-wutopia-lab'>Underground Forest in Onepark Gubei / Wutopia Lab</a>. Image © CreatAR - AI Qing & SHI Kaicheng After countless late nights designing in studio, facing the critics, laying out (and re-laying out) your portfolio, finally convincing someone to hire you, and working 50+ hour weeks... you're still not an architect. Welcome to the examination portion of your professional journey, folks. Beginning a multi-division examination with pass rates in the 50-60% range is a seriously daunting task. That's without even mentioning the overwhelming amount of study materials and opinions floating around in cyberspace. Never fear, ArchDaily is here to help you navigate the tools and techniques available to you when cracking open the books and (hopefully) passing your first exam. Timing: It's PersonalWhile some think it's best to start the Architect Registration Examination (ARE) immediately after graduation while still in "study mode," others believe you need experience to pass. Ultimately, it's personal. If you don't want to study, you won't. There will always be an excuse not to take the tests, so find what motivates you. Maybe it's the pay raise, the job security, the respect—maybe it's simply peer pressure. Whatever your motivation, set your goal and make it happen. For me, there's nothing more motivating to study than just scheduling a test and shelling out that $210 (soon to be $235) in advance. NCARB Isn't Keeping Any SecretsIf you want to know about a building, who is the best person to ask? The architect! With this logic, the National Council of Architectural Registration Boards (NCARB) should be your number one resource for all things ARE, as they are the "architects" of the exam. Their latest version of the test, ARE 5.0, includes 6 divisions:
To find out more about each, you can go to the NCARB Website where they provide guidelines, test specifications, a handbook, video series, helpful blog posts, and even an ARE 5.0 Community with online discussions related to the exams. In their handbook, NCARB lists the specific materials they used to create the exam questions. However, reading each and every one of these recommended resources would be an inefficient way to study. And that's where test prep publishers come in. No Study Guide Is PerfectEvery test candidate, and test prep publisher, is different. There's no "magic pill" for passing the AREs. Michael Riscica, author of Young Architect, and inventor of ARE Boot Camp, offers his ultimate list of study materials. Riscica's advice? To effectively prepare for the ARE, you really need to use multiple publishers and cross-train with study materials, that way all the gaps in your knowledge get filled in. Riscica puts Designer Hacks on his study list. Designer Hacks provides their own comprehensive list of ARE 5.0 Study Material along with paid courses and free practice quizzes. Stop Studying Like a Student and Start Studying Like an ArchitectThese tests are not about memorization and regurgitation, they are about learning how to deal with complex problems that will arise in the profession. Just as you need to be prepared for a wide variety of issues as a professional, you need to prepare for any question or case study to arise on the tests. Figure out your learning style. Some people are able to sit down, read a book, and absorb all of the information. Others may need to fail a practice exam (or two) in order to understand how the material will be put into a question. Or maybe you need a study group to discuss topics with out loud. You're Not AloneEvery year, thousands of designers take the ARE. Some of them are your coworkers and old classmates. Ask around for advice and share resources. AIA Kansas City provided me with study materials, mentorship and camaraderies through their ARE Success Team program. Visit your local AIA chapter to see what resources they have available. Don't Be Afraid to FailDid you see those pass rates? It's normal to fail. Failing an exam gives you feedback on how to pass it next time. The sign of true failure is giving up. On his website, Riscica discusses what he learned from his own failures and the common reasons people don't finish the process. At the end of the day, licensed architects are responsible for the health, safety, and welfare of the public. We all benefit from architects passing a series of difficult tasks before taking on that kind of responsibility. Studying for the AREs helps you realize the weight of what it really means to be an architect and how much more there is to learn about the profession beyond what was taught at a graduate level. Pass or fail, by studying for these 6 divisions you will be one step closer to understanding the world of professional architecture.  This posting includes an audio/video/photo media file: Download Now |
| Campo Oeste House / Poggione + Biondi Arquitectos Posted: 19 Mar 2018 02:00 AM PDT  © Juan Solano Ojasi
 © Juan Solano Ojasi Text description provided by the architects. This is a house where Miesian influence, a fascination for Richard Neutra’s Kaufmann House, and typical Peruvian as well as Argentinian country house style, are clearly recognizable. It is made up of a main gallery, a patio, living and social rooms and the bedrooms, all as open, side by side, unconnected spaces.  © Juan Solano Ojasi Finally, but at the beginning of everything, is the landscape -on which the house is poised like a butterfly in the fields- and which gives form to and mutually composes with the architecture of the house.  © Juan Solano Ojasi  General Plan  © Juan Solano Ojasi The house is made of steel and glass, as well as wide concrete walls reminiscent of tapia mud walls, which counterpoint the house without touching it. Its light roofing gives a frame for the distant mountain and tree views.  © Juan Solano Ojasi The lines created by the house, which resemble planting rows, generate different angled views and landscape vistas from every interior space.  Main Elevation Three intersecting areas make up the house. The first section contains the social area, which has a view out onto the main garden. The second section contains the main bedroom with views of a Japanese style garden, because the owner lived for many years in Japan; and the third section houses the secondary bedrooms and service areas, which look out onto a back garden.  © Juan Solano Ojasi There is a half-moon shaped building in addition to the main areas of the house. It is the security guard’s quarters and its western front is made of gabions which allow for the view, but shield the home from the sunset.  © Juan Solano Ojasi Visual and thermal protection was created with landscaping at the entry to the home, where medium and large trees were planted to the south side, so as to create natural shade and cover to the parking area.  © Juan Solano Ojasi There are different types of vegetation that provide cooling shade for the garden and living spaces, including jacaranda, olive, and Andean molle trees.  © Juan Solano Ojasi  This posting includes an audio/video/photo media file: Download Now |
| Furniture Designed by Brazilian Architects Posted: 19 Mar 2018 01:00 AM PDT  Poltrona Bowl_Lina Bo Bardi. Image © Nelson Kon For some practitioners of architecture, the insatiable desire to draw everything, from the largest to the smallest to take full control of the project, echoes the famous phrase uttered by Mies Van Der Rohe: "God is in the details." Similarly, designing furniture provides another creative outlet for in-depth exploration of human-scale works of architecture. Throughout the history of the Brazilian Architecture, and especially since the modernist movement, architects not only became known for their building designs, but also for their detailed chairs and tables. Several of these pieces of furniture were initially designed for a specific project and then went into mass production due to their popularity. In this impressive list of works, chairs and armchairs stand out for their incorporation of structural and technical-constructive qualities, materiality, ergonomics, and aesthetic lightness. Other pieces featured show the re-tooling and re-thinking of bars, carts, sideboards, tables, and other objects. Here are some of the most well-known and esteemed design objects created by Brazilian architects. Arthur CasasPoltrona Dorival  Poltrona Dorival_Arthur Casas. Image © Fernando Laszlo via Dpot (Divulgação) Aparador Onda  Aparador Onda_Arthur Casas. Image © Fernando Laszlo Cortesia Etel Interiores Carlos MottaCadeira Brisa  Cadeira Brisa com braço_Carlos Motta. Image Cortesia de Dpot FGMF + Estúdio Paulo AlvesCadeira Farofa  Cadeira Farofa_FGMF + Estúdio Paulo Alves. Image © Lucas Rosin Guto RequenaNóize Chair  Cadeira Nóize_Guto Requena. Image Cortesia de Guto Requena Isay WeinfeldCarrinho bar Totó  carrinho Bar Totó_Isay Weinfeld © Fernando Laszlo. Image © Fernando Laszlo Cortesia Etel Interiores Aparador Isay  Aparador Isay_Isay Weinfeld © Fernando Laszlo. Image © Fernando Laszlo Cortesia Etel Interiores Jorge ZalszupinCarrinho de chá JZ  Carrinho de Chá_Jorge Zalszupin © Fernando Laszlo. Image © Fernando Laszlo Cortesia Etel Interiores Poltrona Dinamarquesa  Poltrona Dinamarquesa_Jorge Zalszupin. Image © Fernando Laszlo Cortesia Etel Interiores Mesa Andorinha  Mesa Andorinha_Jorge Zalszupin. Image © Fernando Laszlo Cortesia Etel Interiores Lina Bo BardiCadeira Girafa  Cadeira Girafa_Lina Bo Bardi. Image © Nelson Kon Cadeira Beira de estrada  Cadeira Beira de estrada_Lina Bo Bardi. Image © Nelson Kon Poltrona Bowl Marcenaria BaraúnaCadeira Isa d’aprés siza  Cadeira Isa d'aprés siza_Marcenaria Baraúna. Image Cortesia de Dpot Cadeira Filó  Cadeira Filó com braço_Marcenaria Baraúna. Image Cortesia de Dpot Oscar Niemeyer + Anna Maria NiemeyerChaise Longue Rio  Chaise Longue Rio_Oscar Niemeyer. Image © about-furniture Oswaldo BratkeCadeira Oswaldo Bratke .jpg?1508862842 "Cadeira Oswaldo Bratke © Fernando Laszlo. Image © Fernando Laszlo Cortesia Etel Interiores") Cadeira Oswaldo Bratke © Fernando Laszlo. Image © Fernando Laszlo Cortesia Etel Interiores Paulo Mendes da RochaPoltrona Paulistano  Poltrona Paulistano_Paulo Mendes da Rocha. Image Cortesia de Dpot Mobiliário Sesc 24 de Maio - Paulo Mendes da Rocha + MMBB  Mobiliário Sesc 24 de Maio_Paulo Mendes da Rocha. Image © FLAGRANTE Ruy OhtakeMesa de centro Zu  Mesa de centro Zu_Ruy Ohtake. Image Cortesia de Dpot Sérgio BernardesPoltrona Rampa  Poltrona Rampa_Sérgio Bernardes. Image Cortesia de Dpot Sérgio RodriguesPoltrona Mole  Poltrona Mole_Sérgio Rodrigues. Image Cortesia de Dpot Studio MK27Coleção Próteses e Enxertos .jpg?1508799677 "Coleção Próteses e Enxertos_Studio MK27. Image © Reinaldo Coser") Coleção Próteses e Enxertos_Studio MK27. Image © Reinaldo Coser Vilanova ArtigasCadeira Preguiça  Poltrona Preguiça_Vilanova Artigas. Image Cortesia de Acervo Família Artigas Zanine CaldasCadeira Zanine N  Cadeira Zanine N_Zanine Caldas. Image Cortesia de Dpot Poltrona Cuca  Poltrona Cuca_Zanine Caldas. Image  This posting includes an audio/video/photo media file: Download Now |
| Why Does The Gender Pay Gap Issue Make People Uncomfortable? Posted: 18 Mar 2018 11:00 PM PDT  Foster + Partners' London office, Riverside. Image © Marc Goodwin Last week, ArchDaily covered a story about the gender pay gap at Foster + Partners. We thought such a story was "unsurprising" given that the gender pay gap is something that is widely reported on, and present in almost every industry, and we wanted to share a case of it happening in an architectural firm many of us are familiar with. What we did not expect was that readers would think it is a non-issue, or that such reporting was sensational. Is it possible for us to talk about gender in the workplace without being up in arms? Why does the gender pay gap issue make people uncomfortable? Some of our editors discussed how gender plays into their workplace experiences as well as some hopeful recent signs that we are on a path to change. Joanna Wong: I think it's important to first outline that the gender gap at Foster + Partners is a result of having less female representation in senior or managerial levels, rather than having women paid less for equivalent jobs that men do. Pola Mora: I believe there are more and more discussions related to equality in women's work conditions in a way that has not happened before. These new demands make people uncomfortable. It's like, "It has always been happening, so just let it stay that way." Eduardo Souza: Right. People do not accept that things change, and so when someone confronts the gender issue, it's natural that people react in a sensitive way. Joanna Wong: We've also been hearing a lot from male readers who perhaps have a more advantageous position in the working world over their female counterparts. If they have not experienced the same obstacles that women face in this profession, it's easier for them to say that the gender pay gap is nonexistent. Eduardo Souza: And going back to what Joanna said, it is important to ask: Why do women not ascend professionally as much as men? Perhaps because they adopt other roles in their lives as well? Joanna Wong: Domestic roles for sure. Eduardo Souza: The thing is, I do not know if they put these roles above their career, or if it is a role left over for them, and they have no choice but to pick up these responsibilities. Pola Mora: Well, that's a matter of discussion only if we put maternity in the equation. Eduardo Souza: I've never felt gender affect me in the jobs I've had, maybe because I'm a man, but I've definitely heard stories of women being fired after returning from parental leave. Joanna Wong: Men also have domestic roles, many are proud fathers. But women, at some point in their career, will be confronted with the choice of having a child or not. Bearing a child would mean being inevitably absent from work for months. During this time they would have to give up their time, wages, and opportunities. Pola Mora: Stepping out of the child-bearing argument, women – mothers or not – simply do not have the same pay conditions. Some people say, "Your payment doesn't reflect your talent, but your capacity for negotiation." I think: "Things shouldn't be like that!" That's why I think transparency is essential when we want to talk about salaries across genders. Joanna Wong: (laughs) Pola, I was going to say that too! When people move on to senior positions, their pay is more of a combined result of their past merits and negotiation skills. Pola Mora: And that's when women have to put their "male suit" to go and negotiate "as an equal" with a man. That's why having women in higher positions could balance this inequality. Joanna Wong: If we delve deeper into the gender pay gap issue, I think we can also see that it stems from problems within the profession of architects: the long hours, sleepless nights before competitions, years of education, and not-so-well-paid salary compared to other professions that also take years to advance. When considering their domestic roles, perhaps these women would opt for a more rewarding alternative. Pola Mora: Here's another thing. It is not related to payment, but to how men react to women at work. I know couples that work together, and when the male partner cannot go to surpervise construction, the workers ask the female partner "Lady, where is the architect?" And we all know situations in meetings where the only woman present is expected to serve coffee! Eduardo Souza: Yes, I totally agree, women on construction sites need to fight way more than their male counterparts to be seen, heard, respected by the workers there. Pola Mora: And then these things like the perception of co-workers can affect women later when they negotiate their salaries as well. Joanna Wong: Yes. To do better, we'll need more transparency. Pola Mora: I believe all the public attention this issue has been getting can help to empower women architects at work. If female students cannot see enough women winning the Pritzker, giving lectures, running offices as CEOs, that's a problem. How are they going to feel the drive to fight for an equal salary if they don't see a space for them in the field? Eduardo Souza: As it is, we definitely need to improve on representativeness and transparency. Pola Mora: So hopefully transparency reports like this article about Foster + Partners can help women to know how much their counterparts are earning, right? Eduardo Souza: Yes. And it helps men too. I believe that having awareness is a first step. Joanna Wong: Having female architects represented in the media is fundamental to raising awareness. In addition to that, people in teaching positions should make sure that examples by female architects are included in the course material. It's important to have examples of female pioneers from the past, like the Woman's Building at the Columbian Exposition in 1893 by Sophia Hayden Bennett, and not just recent works by Zaha Hadid or Sejima of SANAA from the 21st century. They are important too, but we need a wider scope. Eduardo Souza: Yes. In Brazil, the interest in the work of Lina Bo Bardi has been increasing as well, which is awesome. Like Sophia Hayden Bennett, she did not have the recognition she deserved in her time. Pola Mora: Fortunately at ArchDaily we have a lot of super-qualified women in leadership positions. It's a great place for me to work. And as a media organization, I think we have a huge responsibility to highlight these women. In the end, the media seems to be doing a lot of work putting these issues up for public debate. Come to think of it, this year's Venice Biennale, the most relevant event for architects in the world, will be held by two women – Yvonne Farrell and Shelley McNamara of Grafton Architects, and a lot of countries have also chosen women to curate their pavilions! So hopefully we will find the space to continue the discussion. Joanna Wong: We're starting to see the changes. Pola Mora: Our efforts are finally seeing the light! About the editors -- Pola Mora is Head of Content at ArchDaily en Español since september 2013. She is an architect with a Master in Cultural Management from Universidad de Chile. Last year, she was one of the curators of Chile Biennale of Architecture "Diálogos Impostergables." Joanna Wong is an editor at ArchDaily China. She is in charge of bringing news and projects in China to a global audience. Prior to joining ArchDaily in 2017, she completed a BA degree in Architectural Design and Art History at the University of Toronto. Eduardo Souza (Dudu) is an architect and urbanist. He graduated from the Federal University of Santa Catarina (UFSC) with a Master in Urban Planning from the History and Architecture Program at UFSC. Has been collaborating in ArchDaily Brasil since 2012, and is currently Editor of Architecture Classics and Articles.  This posting includes an audio/video/photo media file: Download Now |
| Mandal Slipway Housing Complex / Reiulf Ramstad Arkitekter Posted: 18 Mar 2018 10:00 PM PDT  © RRA
 © RRA Text description provided by the architects. The "Slippen" housing complex is located in the district of Lower Malmø, at the exit of Mandalselva in the Mannefjord. The town of Mandal has some very special qualities with its location where the river meets the sea, and a stunningly beautiful timber architecture. Lower Malmø on the eastern side of the river has historically been an industrial area, but this is currently under development and will in future become a vital part of Mandal's vibrant city life. The project is iconic with its unique roof forms and minimal window details, while at the same time evoking the character of the local surroundings, taking its inspiration from the unique character of Mandal: the encounter between timber construction and the open sea. The architecture is steeped in local vernacular building traditions, but with a new and modern interpretation.  © RRA The project organizes four residential buildings around a common outdoor area. A longer building is located to the north along Ballastgata. Towards the riverfront, there are three smaller residential buildings. These are generously spaced apart; providing ample visibility from all the apartments towards the ocean, as well as letting plenty of sunlight into the common outdoor areas.  Site Plan This first phase of the development contains 46 apartments divided into 16 different types. The size of the apartments ranges from 65m2 up to 175m2. All apartments have balconies and some rooms are double height mezzanines. All the penthouse apartments have private roof terraces. The project is fully in accordance with Norwegian requirements for universal design.  © RRA The buildings have traditional pitched roofs inspired by the local building traditions of southern Norway. The facades and roofs are clad in untreated cedar with balconies facing southwest. Great emphasis has been placed on the relationship between the outdoor spaces and the shared building functions. All the apartment layouts are highly effective and well organized, placing great emphasis on the provision of daylight, open views and good flow between the indoor and outdoor facilities. All drainpipes, door and window frames and other exterior components have been carefully designed to be as discreet and delicate as possible, which has given the houses a clean and sharp design language.  © RRA  This posting includes an audio/video/photo media file: Download Now |
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