Arch Daily |
- New 3D-Modeling Software Increases Efficiency by Focusing on Fast, Intuitive "Shaping" Inputs
- Ryhove Gent / TRANS architectuur I stedenbouw
- New Forms of Industry: Shed #19 by Andrea Oliva Architetto
- Fish Restaurant CATCH / YoDezeen studio
- Cardamom Club / Kumar La Noce
- Min Tu Won School / Orbe Architecture + Estudio Cavernas + INDA + W.E. Wattanachote + Lasavanich
- Building M / I.R.A.
- BRIC Art Space / maison h
- 13th Beach Courtyard House / Auhaus Architecture
- We’re Hiring! Join Our Content Team!
- Rangeland Laboratory Facility / BVH Architecture
- Coldefy & Associates Design World's Largest Single-Domed Tropical Greenhouse
- Miralta House / Vasco Lopes Arquitetura
- The Vatican Releases Details of First Ever Venice Biennale Entry
- NOON Afterschool / TACO taller de arquitectura contextual
- 6 Materials That Age Beautifully
- Terrazas de la Estancuela Houses / Adolfo Mondejar Estudio de Arquitectos
- A Deep Dive Into the Sad Story of the Makoko Floating School
- Digital Scaling Ruler Works as a Perfect Architect’s Tool
| New 3D-Modeling Software Increases Efficiency by Focusing on Fast, Intuitive "Shaping" Inputs Posted: 26 Mar 2018 09:00 PM PDT  BricsCAD® Shape is a new, free 3D modelling tool from Bricsys Get designs out of your head and in front of your client. In the normal world, a building project starts with a client interview. Then you go back to the office to develop your design and build a proposal. Then you meet to sell your concept. Rinse. Repeat. Wouldn't it be great if you and the client could sit for an interactive design session? To do this, you would need a tool that acts like "digital clay". You would need software that is so easy to use, and so responsive, that you could capture, sculpt and modify your concept freely. Working interactively with your client can help everyone agree on the shared design vision. If everyone agrees with the shared design vision, you'll field fewer change orders throughout the project. And if your digital clay was truly smart, it could give you a head-start on the detail design process and construction document creation.  Make the smart move – directly from concept to BIM with BricsCAD Shape with no loss of detail. Your digital clay: BricsCAD Shape. BricsCAD® Shape is a new, free 3D modeling tool from Bricsys. It's CAD-accurate, using a powerful direct modeling engine. It's made to help architects and engineers capture their ideas in 3D. Anything that you create in Shape can be modified deeply, anytime, on the fly.  Enrich your design story by adding doors, windows, materials and other elements via drag and drop. The modeler comes with a library of materials, textures and pre-built 3D components - including parametric doors and windows. Enrich your design story by adding doors, windows, materials and other elements via drag and drop. Remove them, replace them, or move them around freely. Need more components? Create them from scratch, load your 3D DWG files, or import SKP models directly - it's up to you.  The modeller comes with a library of materials, textures. Why is Shaping better than sketching? Shape reads and writes industry-standard DWG 2018. Shape's solid models are never approximated. Under the simple UI is the same fast and proven parametric, 3D direct modeling engine that's in BricsCAD BIM. Your concept models open directly in BricsCAD BIM, with 100% re-use of your design model. Try that with your old sketches. And best of all, since Shape is always BIM-aware, your concept becomes a building information model in less than one minute. Make the smart move – directly from concept to BIM with BricsCAD Shape with no loss of detail. If you're familiar with CAD, you can learn how to use BricsCAD Shape in 30 minutes or less.  If you're familiar with CAD, you can learn how to use BricsCAD Shape in 30 minutes or less. You can get a copy of BricsCAD Shape of your very own, for free, forever, right now. Come visit us at www.bricsys.com/shape to find out more today!  This posting includes an audio/video/photo media file: Download Now |
| Ryhove Gent / TRANS architectuur I stedenbouw Posted: 26 Mar 2018 08:00 PM PDT  © Stijn Bollaert
 © Stijn Bollaert Text description provided by the architects. After decades of gradual expansion, the factory buildings of Ryhove, a company based in the city centre of Ghent, showed signs of decay. The corporate image had become one of an outdated working environment that was no longer in line with the commercial success.  © Stijn Bollaert The company had two options: to leave the site for an efficient new construction in a peripheral industrial zone or to take on the challenge to partially demolish the factory and to rebuild it on the same site.  Lower Floor Plan The choice was made to stay at the site, so the employees could continue to work in their neighbourhood.  © Stijn Bollaert An important ambition was to make the industrial expansion acceptable in a residential area. That is why the 'terraced house typology' was chosen as a reference for the intervention. The street façade was divided into parts with a width of approx. 5 m. The building got a simple pitched roof.  Upper Floor Plan Around the corner, the roof is tripled. A loading and unloading area is organized in the middle of site: the handling of the goods is not hidden but placed in the heart of the factory.  © Stijn Bollaert The building is made with standardized, prefabricated elements. Concrete columns, CLT panels and metal sandwich elements were assembled to make a construction with a character that oscillates between an urban and peripheral building.  This posting includes an audio/video/photo media file: Download Now |
| New Forms of Industry: Shed #19 by Andrea Oliva Architetto Posted: 26 Mar 2018 07:30 PM PDT .jpg?1520285865 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Research is the key to Andrea Oliva's project for Shed #19—not only because this old factory was turned into a technopole for industrial investigation, but also because the architect's proposal used research as a way of identifying the building's possible transformations. In this case, the rich industrial history of the plant and the area is deemed essential for its refurbishment; its recovery depends on understanding its significance. .jpg?1520285315 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Close to the Ferrovie dello Stato central railway station in Reggio Emilia, Italy, the old "Officine Righi" tells the story of an ever-shifting production focus: from rolling stock to weapons, from war materials to aircraft, and from there back to rolling stock and industrial equipment. Initially a small complex with less than a hundred workers, in over forty years it expanded to a plant with more than eleven thousand employees. It functioned in times of peace and war and in only a decade it endured both a bombing by the Allies and a shutdown caused by a class conflict that led to a mass layoff. Unable to survive an economic crisis, it finally closed in early 2000. .jpg?1520338615 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Considering the smells and sounds of machines and labor embedded in its memory and its walls, the refurbishment project recognizes and recovers the core beauty of the dilapidated building, subdividing the spaces through distinctive modules that are independent in structural, thermal and material terms. Thus, the building's industrial heritage and historical significance is reclaimed while adjusting to contemporary requirements, turning a deteriorated area into a public space for the community and a site for relentless exploration of new ways of manufacturing.
.jpg?1520284837 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1520284850 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1520338605 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1520285214 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1520285425 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1520285631 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1520285666 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1520285757 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1520285791 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1520285899 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1520286046 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1520286080 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1521065833 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1521065844 "© Laurian Ghinitoiu") © Laurian Ghinitoiu .jpg?1521065866 "© Laurian Ghinitoiu") © Laurian Ghinitoiu  This posting includes an audio/video/photo media file: Download Now |
| Fish Restaurant CATCH / YoDezeen studio Posted: 26 Mar 2018 07:00 PM PDT  © Andrii Shurpenkov
 © Andrii Shurpenkov Text description provided by the architects. The new fish restaurant CATCH is located in the heart of Kiev - 12 Vladimirskaya st. The owners of the place, La Famiglia team, hosted together everything appreciated by true gourmets. Here you can find the most extensive selection of fish and seafood in the capital, 8 kinds of oysters, 150 kinds of champagne, and a large assortment of white wines - more than 200 kinds. Actually, the main seafood direction of the restaurant defined its name. YoDezeen Architectural Studio, the authors of the projects, was set an objective to create a high-class elegant and respectable restaurant. As a result, we have a quality modern European interior. The architects only needed four months to completely reconstruct the area of the new restaurant location.  © Andrii Shurpenkov  Floor Plan  © Andrii Shurpenkov "The first impression of the place was a bit shocking - a lot of unnecessary decor, multi-level platforms, dividing the space in height and other interior peculiarities," tell the authors. To start with, the architects cleared the space as much as possible to flood the interior with light. light and air in. The old windows were replaced with a new thin profile façade, the inner balconies were completely removed and the ladder was relocated, thereby creating a vertical axis of space development. The restaurant is roughly divided into two parts with the main hall on the ground floor and the banquet hall on the first floor. It was decided to split the ground floor space into two zones - the bar with a communal table and the main dining room with the help of three-meter seafood showcase, wine racks, and refrigerators.  © Andrii Shurpenkov Thanks to a large number of pendant lamps, mirror and glossy surfaces the space of the main hall is filled with the tricks of light and reflections. In the daytime, CATCH is intended more for business meetings, as the atmosphere here is stylish, but at the same time cozy and not too formal. In the evening, because of different lighting options, the situation is changing and the restaurant turns into a very romantic place. The restaurant is filled with rough unprocessed surfaces - complex brickwork, metal parts, concrete columns. Since this is a purely fish restaurant, many decoration details directly refer to the topic. Allusions associated with marine themes appear in the large shelving with three-level aquariums, in the large bar open window where the fresh fish is cooked in front of the guests, and even in the glazed monochrome tile behind the bar, colored like seawater with algae.  © Andrii Shurpenkov  Table Light Schemes  © Andrii Shurpenkov CATCH is one of the few Kiev restaurants where you can have a rare pleasure to dine at one big table. A communal table is a fashionable trend in the gastronomic life of Europe and the pride of the place. The height of the table, made from solid oak, is slightly higher than usual, and above it, there is a real masterpiece - a large chandelier of 450 glass balls. The chamber banquet room of the restaurant is home-like cozy - a dark ceiling with molding, chandeliers, black and blue leather furniture, a graphite mirror and, finally, some paintings in metal frames. In short, the authors of the project managed to create a calm and pleasant atmosphere of delicate chic in this restaurant.  © Andrii Shurpenkov  This posting includes an audio/video/photo media file: Download Now |
| Posted: 26 Mar 2018 05:00 PM PDT  © Vivek Muthuramalingam
 Courtesy of Kumar La Noce Text description provided by the architects. Set amidst expansive Cardamom plantations on steep terrain area in Thekkady, Kerala, a set of cabins have been designed to nestle within a sea of green. Responding to a brief for a boutique resort, the project includes five independent cabins, an outdoor pool with adjacent stepped decks and a spa block divided into three interconnected volumes all raised on stilts.  Courtesy of Kumar La Noce  Masterplan  Courtesy of Kumar La Noce  Section The 40 sq.m cabins feature floor to ceiling wood framed openings that are composed and designed to enhance the impact of the dramatic views while ensuring privacy between the units. The cabins open out to generous decks to embrace and experience the feeling of belonging to the surrounding plantation.  Courtesy of Kumar La Noce The structures are envisioned as light and elegant floating volumes in order not to disturb the natural harmony. They are crafted primarily out of rich reddish hardwood sourced from sustainably managed plantations. Inspiration comes from quaint shops and structures dotting the plantation landscape surrounding the property, which feature framed glass enclosures and simple wooden furnishing.  © Vivek Muthuramalingam  Cabin plan  © Vivek Muthuramalingam The interiors are minimal and yet sophisticated, keeping the focus on the dramatic setting. Hand crafted teak wood and rattan furniture and rice paper light fixtures complement the rich wood panelled surfaces. The ensuite bathroom is compact and raw, with locally sourced black granite counters and a shower area featuring a 'porthole' window framing the views beyond. The overall design has been an exercise in balancing luxury and elegance with quietness and restraint.  © Vivek Muthuramalingam  This posting includes an audio/video/photo media file: Download Now |
| Min Tu Won School / Orbe Architecture + Estudio Cavernas + INDA + W.E. Wattanachote + Lasavanich Posted: 26 Mar 2018 03:00 PM PDT  © Juan Cuevas
 © Juan Cuevas Text description provided by the architects. The Mae Ku Learning Center is a new educational building located near the Thai-Burma border. The building is designed as a mountainous, monolithic object nestled in amidst the adjacent fields. The center is a multi-functional educational space for the Min Tu Won School, a community-led organization that provides education for a local community of Burmese refugees and migrants.  Site Plan Faced with minimal resources, the Min Tu Won School's existing classrooms needed relief for their overcrowded teaching areas. They sought additional room for 70 students to improve the learning conditions of the school as well as to continue to cultivate and promote local education.  © Juan Cuevas  © Juan Cuevas The new center responds to these needs with a massing of adaptable, multi-functional spaces. Two large interior volumes form an open floor area for teaching, studying and interactive learning. As the school grows and develops, these spaces will be able to accommodate the Min Tu Won School's evolving conditions.  © Juan Cuevas  Ground Floor Plan  © Juan Cuevas The building is designed with playful, massive shapes assembled together for children to engage and explore. Natural, locally sourced materials are used throughout the building to integrate the object within its surroundings. The center is visible from afar, an enticing destination for the long distance that many students travel to come to school.  © Juan Cuevas The large classroom volumes feature blackboards, built-in wall benches and storage space. An open floor plan allows for flexibility in the arrangement of the learning areas. The interior is illuminated with soft, natural light using skylights. A delicate, veiled bamboo skin wraps the interior spaces, creating a world of passageways and spaces for students to discover. Sunlight is filtered through, adding depth and volume to the building. The bamboo skin acts as an environmental mediator, screening the interior rammed earth walls from direct sunlight and rain while welcoming fresh air and breeze to pass through. As part of the philosophy of Estudio Cavernas, the design of the building uses low-tech constructive systems that can be built by all workers, ensuring that most of the systems are adapted to the available materials and skills. The beneficiaries of the project are involved throughout the design and construction process, allowing them to take pride and ownership in the building and to encourage the continued success and maintenance of the learning center.  © Juan Cuevas  Section  © Juan Cuevas The Mae Ku Learning Center was developed through the Design and Build for Community course at the International Design and Architecture (INDA) program at Chulalongkorn University in Bangkok. Started by Dr. Preechaya Sitipunt, this course connects communities from throughout Thailand to the university resources to create a meaningful project.  © Juan Cuevas The design build course gathered twenty students in Bangkok to study mass, material and program. Through site visits and a collaborative design process, students worked to refine and document the project and then participated in the building construction on site. The course was taught by Wisarut Eric Wattanachote of WIWA-Studio and Jason Orbe-Smith of Orbe Architecture. The project was realized through a design and construction collaboration with Juan and Yago Cuevas of Estudio Cavernas.  © Juan Cuevas  This posting includes an audio/video/photo media file: Download Now |
| Posted: 26 Mar 2018 01:00 PM PDT  © Nobuaki Nakagawa
 © Nobuaki Nakagawa Text description provided by the architects. Shops and multiple dwelling house built near the coast A pharmacy on the first floor, a maisonette house on the basement floor and 2nd floor and 3rd floor. Each floor supported by seven thin columns on the outer circumference, the beam was made into a truss structure and Space without column. Plan to respond to free renovation in the future.  © Nobuaki Nakagawa  Section  © Nobuaki Nakagawa The inclined ceiling formed by the truss beam leads the daylighting from the high window securing privacy to the inside, Moreover, its gradient ceiling surface appears outside, aims to create a facade that has depth and to become a symbol of an impressive city.  © Nobuaki Nakagawa  This posting includes an audio/video/photo media file: Download Now |
| Posted: 26 Mar 2018 12:00 PM PDT
 © Martijn de Geus Text description provided by the architects. This art space takes the metaphysical blank space in abstract paintings by contemporary Chinese artists as its starting point. It uses natural light, simple black strokes and translucent materials to create a fuzzy, dream-like physical realm. The project is located within Beijing's 798 Arts District, as a renovation of a former factory, originally build in the 1970's during Mao Zedong's Great Leap Forward.  © Martijn de Geus
 © Martijn de Geus The project is conceived as a communication space, open to anybody interested in artistic, cultural and spiritual topics. An almost paradoxical juxtaposition, given its previous industrial function.  © Martijn de Geus The project started with a chance encounter during a long-haul flight between Amsterdam and Beijing. The client a renowned cognitive scientist with an interest in metaphysics, moving to Beijing; the architect a young academic studying the cognitive perception of space, based in Beijing. They shared an interest in the comparison between Western and Eastern abstract art and metaphysics. During the flight they conceived the idea to create an art space in Beijing that would create a place for discussing the metaphysics of an upcoming art culture.  © Martijn de Geus We eventually created an immersive, 'blank space', with moving planes, as contemporary Chinese artists are interested in capturing 'the unknown', the 'being', rather than the 'context'. They dwell on abstract, inter cultural, metaphysical topics such as space, time, change and transformation, the lasting behind the change, the invisible behind the appearances.
At the same time, we drew inspiration from comparable references in Western abstract art spaces, such as Mark Rothko's Chapel at the University of St. Thomas in Houston, Texas. Rothko says art must reach an immersive unity with the reality. We thus created a space with a buffer between the inner blank realm and the tainted outside. In the inner realm volumes and planes intersect within the space to create flexible areas which can be used to house different functions and flows of people.  © Martijn de Geus These conceptual ambitions were realized with an approach we call 'Minimal Design, Maximum Flexibility'. Using the least amount of materials and structure, we aim to create the biggest impact through the spatial design. We create flexible spaces and systems, in which the space multiplies its functional capability.  © Martijn de Geus The project was designed and build in 2 months, with a very tight budget, made possible by forming a design-build team with a passionate contractor, allowing us to go from 'sketch to detail' on site. We were able to realize the pure and clean details that we felt represented the spaces' intention. We were integrally responsible for all parts of the project (design, construction drawings, contractor selection, design execution, etc), and selected skillful craftsmen and contractors to ensure good detailing and execution of our design.  © Martijn de Geus The white walls of the exhibition space are lit during the day from light filtering through the polycarbonate ceiling panels down through the airy double volume space. The upstairs space accommodates the more private functions, such as the management offices as well as a private viewing space for potential buyers.  Section The BRIC Art Space, with other locations in Europe, focuses its attention on art coming from the BRIC countries. The original concept of the "BRICs" was related to politics and economy, but it believes that the BRIC countries have gradually revealed their unique cultural environments and aesthetic orientation, which brings a fresh breath to the civilization and history which had been dominated by Western culture.  © Martijn de Geus  This posting includes an audio/video/photo media file: Download Now |
| 13th Beach Courtyard House / Auhaus Architecture Posted: 26 Mar 2018 10:00 AM PDT  © Derek Swalwell
 © Derek Swalwell Text description provided by the architects. Designed as a sweeping arc to take in the extremities of the wedge shaped site, this house folds away from prevailing winds, enclosing a large, sheltered north facing courtyard, onto which all rooms face. The split level obscures road / neighbours and provides vistas to the treelined horizon beyond.  © Derek Swalwell  Plan  © Derek Swalwell This new house on the 13th Beach golf course has been designed by Auhaus in response to site conditions - an irregular wedge shaped site, a slight upward slope from front to rear, driving winds across the course from the adjoining Thirteenth Beach, North facing front boundary, golfers regularly passing by on the southern edge, the obscuring of future neighbouring buildings (it is part of a newly opened land section and has no immediate neighbours yet). The sweeping plan takes in the extremities of the wedge shaped site, folding away from the prevailing winds and enclosing a large, sheltered north facing courtyard and pool.  Courtesy of Auhaus Architecture A monolithic block wall inside the fence line bounds the long courtyard edge, creating a greater feeling of enclosure and seclusion within the main external zone. Large openings through the wall allowing foliage to spill through, giving the sense of an endless landscape beyond. All habitable rooms face into the central courtyard, providing outlook and a strong connectedness throughout the house. The split level plan delineates zones within the house whilst the relative height of the two levels obscures the immediate foreground of road / neighbours and provides a vista across to the treelined horizon.  © Derek Swalwell  © Derek Swalwell The direct context is golf course and newly opened blocks adjoining the site on either side (not yet built upon). No vegetation on site or on neighbouring sites. An irregular wedge shaped site with a slope of 2m from the front to the rear. North facing frontage. Driving winds from the south-west. Auhaus evolved the design based on site responsiveness, the form takes in the extremities of the site, folds away from prevailing winds and encloses a large north facing courtyard. The split level obscures views to immediate road (headlights) and neighbours and provides a vista to treelined horizon beyond.  © Derek Swalwell  This posting includes an audio/video/photo media file: Download Now |
| We’re Hiring! Join Our Content Team! Posted: 26 Mar 2018 09:15 AM PDT  ArchDaily is an evolving project of the Internet – an experiment in archiving, disseminating discourse, and sharing content related to architecture and urbanism on a scale that was not possible as little as two decades ago. And we're happy to announce that we are growing our team of talented contributors! The ArchDaily Content Team works to continually connect people from around the developed and developing world by building a platform which operates in four languages—Spanish, English, Portuguese and Mandarin Chinese. Our main driver is to ensure that these discussions are available to the widest possible global audience. As we grow, we're looking for talented writers, editors and content producers. Are you passionate about architecture and the internet? One of these positions could have your name on it! Requirements for All Listed Positions:
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Employer Description: To submit your application please send your CV and a brief cover letter (within the body text of the email) to contentjobs@archdaily.com. Please use "Content Recruiting" as the subject. See us in action! Follow #humansofarchdaily on Instagram!  This posting includes an audio/video/photo media file: Download Now |
| Rangeland Laboratory Facility / BVH Architecture Posted: 26 Mar 2018 08:00 AM PDT  © Paul Crosby
 © Paul Crosby Text description provided by the architects. Remotely located to the southeast of Chadron atop a rolling hill of short-grass prairie, the building complex provides much-needed facilities for instructional and office spaces for the Rangeland, Agriculture and Wildlife Program, as well as several student activity groups. The two separate but adjacent buildings support the second largest rangeland management program in the United States. The laboratory facility houses the animal science laboratory, a plant and soil science lab, classrooms, a range herbarium teaching collection and other supporting faculty work areas.  © Paul Crosby The site takes organizational cues from traditional ranching facilities, aligning its structures along two axes to form a natural windbreak and take advantage of seasonal sun and the natural topography. Recognizing the effect humans and the built environment have on the larger ecosystem, the site utilizes a number of experiential and sustainable methods, including geothermal, solar and wind power, to demonstrate responsible practices for rangeland management that can be applied to a working ranch.  © Paul Crosby  Exploded Axonometric  © Paul Crosby The use of familiar materials such as metal-clad walls, cedar wood siding, board-formed concrete and the rhythm of the exposed wood structure lend life and cultural context to the facility's roots in the ranching and agricultural tradition. Natural light filters across the main circulation corridor through corncrib siding, terminating in a glass wall offering a view out across the expanding terrain. The westward view from the Live Animals Facility features a covered arbor leading to the southern entrance of the Laboratory. Connecting lab spaces and passageways to the landscape through materiality in this way allows the experience of the building to change nearly as frequently as the surrounding prairie.  © Paul Crosby  This posting includes an audio/video/photo media file: Download Now |
| Coldefy & Associates Design World's Largest Single-Domed Tropical Greenhouse Posted: 26 Mar 2018 07:00 AM PDT  Courtesy of Coldefy & Associates French firm Coldefy & Associates has unveiled images of their design proposal for the world's largest tropical greenhouse under one roof. Situated in Pas-de-Calais, France, "Tropicalia" will cover an area of 215,000 square feet (20,000 square meters) featuring a tropical forest, turtle beach, a pool for Amazonian fish, and a one-kilometer-long walking trail. The biome aims to offer a "harmonious haven" where visitors are immediately immersed in a seemingly natural environment under a single domed roof.  Courtesy of Coldefy & Associates Designed in collaboration with energy company Dalkia, the $62-million Coldefy & Associate scheme aims to create a stable 26-degrees-Celsius environment within the greenhouse. To achieve this, the architects adopted a similar solution to Nicholas Grimshaw's Eden Project, using a combination of structural steel and ETFE plastic technology.  Courtesy of Coldefy & Associates The scheme will feature a "double-dome" of 200-foot x 13-foot (60-meter x 4-meter) ETFE strips forming a pressurized "cushion," allowing UV light to pass through while controlling thermal conditions inside. A third layer of ETFE underneath the structure will accumulate heat generated by the greenhouse effect to be exploited for thermal energy. In order to further enhance the scheme's energy performance, and to integrate the large structure with its natural surroundings, the dome will be partially embedded in the landscape. When combined, these measures create an energy-self-sufficient scheme allowing for energy to be redistributed to surrounding buildings.  Courtesy of Coldefy & Associates
The environmental conditions created by the dome allow for an "exceptional oasis for tropical flora and fauna" beneath. Visitors are led along a kilometer-long path, encountering an 82-foot-high (25-meter-high) waterfall, 82-foot-long (25-meter-long) "tactile pool" filled with koi carp, and an Olympic-sized pool filled with Amazonian fish, some growing up to 3 meters in length. Visitors can experience these fish through an aquarium-style glass surface, or more daringly, via a platform and pontoon.  Courtesy of Coldefy & Associates  Courtesy of Coldefy & Associates To accompany the tropical environment, Tropicalia will contain an auditorium, bar/restaurant, bed and breakfast, and a scientific area dedicated to national and international collaboration, containing a conference room, laboratory, and clinic. When opened, the scheme is expected to attract 500,000 visitors per year. Tropicalia is due to begin construction in 2019, with a planned opening in 2021. News via: Coldefy & Associates  This posting includes an audio/video/photo media file: Download Now |
| Miralta House / Vasco Lopes Arquitetura Posted: 26 Mar 2018 06:00 AM PDT  © Nadia Ramos
 © Nadia Ramos Text description provided by the architects. Predominantly single-floor residence planted in "L" shape on the flat ground. The garden and swimming pool are the center of the house, since the bedroom and the living room open totally to them. The kitchen is integrated into the dining room and separated from the living room by a fireplace inlaid on the wall lined with gray stone.  Ground Floor Plan  Sections The high ceiling living room integrates with the balcony with a metal slatted wood pergola, the sliding doors collect entirely within the side wall of the bedrooms. The dormitory block has a shutter across all the facade facing the garden.  © Nadia Ramos The finishing materials are basics like textured putty, wooden frames, and wooden floors. The outside floors are fulget in light yellow and green stone used in the pool. The upper floor has only two suites integrated into the dormitory block by an internal staircase.  © Nadia Ramos  This posting includes an audio/video/photo media file: Download Now |
| The Vatican Releases Details of First Ever Venice Biennale Entry Posted: 26 Mar 2018 05:00 AM PDT  Courtesy of MAP Studio / ALPI The Vatican has released details of the Holy See Pavilion for the 2018 Venice Biennale, marking the Vatican's first ever entry to the architectural exhibition. Situated on the Island of San Giorgio Maggiore, the Holy See Pavilion will lead visitors on a journey through ten chapels designed by ten architects. The beginning of the journey will be marked by the Asplund Chapel, designed by MAP Studio and built by ALPI, drawing inspiration from the "Woodland Chapel" built in 1920 by Gunnar Asplund at the Woodland Cemetery in Stockholm.  Courtesy of MAP Studio / ALPI The Holy See Pavilion represents the Vatican's first entry to the Architecture Biennale, following on from entries to the Art Biennale in 2013 and 2015. The Asplund Pavilion, like the Woodland Chapel that inspired it, is intended as a "place of orientation, encounter, meditation, and salutation." The timber-framed chapel will be clad with 9000 wooden shingles, with the interior hosting an exhibition of drawings by Gunnar Asplund for the Woodland Chapel, accompanied by documents and models illustrating the concept and construction of the original chapel. The pavilion is conceived as the prelude to an exhibition itinerary, which sees visitors led through dense woodlands on a circuit of ten chapels designed by ten architects, providing a variety of architectural responses to the original Stockholm chapel. The decision to include ten chapels was inspired by the Ten Commandments, with architects such as Norman Foster and Eduardo Souto de Mourao contributing chapels for the pavilion.
The Holy See Pavilion will be curated by Professor Francesco Dal Co. The Venice Biennale will open on 24th May, and run through to November 25th. News via: ALPI
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| NOON Afterschool / TACO taller de arquitectura contextual Posted: 26 Mar 2018 04:00 AM PDT  © Leo Espinosa
 © Leo Espinosa Text description provided by the architects. NOON is an afterschool for children, where workshops, school counseling and a general stay are given. The project was developed based on a corporate identity, which was adapted to a pre-existing building with a limited budget because of being the first center to be executed; so the project is divided into 2 constructive stages, where the first one is summarized to strategic interventions that improve the functionality and the presence from the street, to the design of exterior and interior areas, and also to the design of furniture of selected spaces; so that together produce professionalism, security, order, creativity, fun and belonging sensations both in children, as in parents and the work team. The general objective was to achieve a space that generates real social and cognitive experiences (not virtual) in children.  © Leo Espinosa The original construction was a single family house that eventually ended up inside an area of offices and services within the city of Merida. The building was practically preserved in its entirety. Only the building's main access was changed so as to create a clear access and evacuation vestibular corridor from and to each of the interior and exterior spaces of the complex. Outside, two new entrances were created, one for services and the other for the rear garden, in order to reinforce access control to various areas; the open parking lot in the front was transformed into a tree-lined plaza for children's reception, and the existing gate to the street was preserved for security reasons; while a playground and an orchard were created at the back. Inside, the bedrooms of the house became an administrative office, a counseling room and a workshop room; and the social area was transformed into the play room. The kitchen, laundry room, cellar and bathroom were kept in their original locations; the latter was divided into 2 restrooms, one for each gender. For the second stage the change of floors and pavements, the interior design of the service areas and the administrative area, and a small extension for a roofed terrace in the rear are pending.  Lower Floor Plan With regard to materiality, an apparent stucco was used on the outside based on gray cement, vibro-compressed concrete latticework, and the corporate colors were captured on the exterior doors. In interiors, a light neutral color was used for walls and doors, for functional furniture designed in natural woods combined with corporate colors dominate. The graphics of the brand were reflected on the interior walls and on the exterior fences manually.  © Leo Espinosa  © Leo Espinosa The play room is bordered by a series of low furniture with storage areas on both sides for didactic material and children's belongings. Modular triangular tables were designed for the workshop hall, which allow different configurations according to the type of workshop that is carried out. For the counseling room, two modules of tutoring 1 to 1 (tutor + child), and a round table for teamwork were designed. The back garden was designed as a yucatecan playground, in which various traditional games were painted on the pavements, combined with dexterity activities and an orchard, among other uses.  Sections The project was carried out under a comprehensive work scheme, which included architectural design, interior design, furniture design and landscaping; as well as the construction and execution of them.  © Leo Espinosa  This posting includes an audio/video/photo media file: Download Now |
| 6 Materials That Age Beautifully Posted: 26 Mar 2018 02:30 AM PDT  © Rory Gardiner Often as architects we neglect how the buildings we design will develop once we hand them over to the elements. We spend so much time understanding how people will use the building that we may forget how it will be used and battered by the weather. It is an inevitable and uncertain process that raises the question of when is a building actually complete; when the final piece of furniture is moved in, when the final roof tile is placed or when it has spent years out in the open letting nature take its course? Rather than detracting from the building, natural forces can add to the material's integrity, softening its stark, characterless initial appearance. This continuation of the building process is an important one to consider in order to create a structure that will only grow in beauty over time. To help you achieve an ever-growing building, we have collated six different materials below that age with grace. Stone/Limestone © George Messaritakis You cannot deny the beautiful quality of aged stonework, which tells the story of what was and what has been. Stone buildings that have survived decades or even centuries magnificently present themselves as dominant structures softened and worn down by nature and the elements. The incredibly versatile material can not only be used as solid masonry construction, but in thin stone façade systems that equally create the magnificent building front - even if it's small, elegantly placed stone details. Teak © Liao Yusheng Teak wood, as with most timber high in tannic acid, silvers with age and requires little maintenance. Louis Kahn was a great fan of teak; the Salk Institute's signature windows are framed by the organic material, beautifully complementing the harsh protruding concrete. Besides buildings, teak wood is mainly used for outdoor furniture and building boats as it is highly resistant to rot and unlike other timbers, it has a relative low shrinkage ratio. Although it ages beautifully, the tropical hardwood must be responsibly sourced to ensure it doesn't contribute to the impoverishment of families or the clear-cutting of rainforests. Corten © Rory Gardiner This list wouldn't be complete without weathering steel. The distinctive orange layer is formed as a passive oxide coating on the surface of the material that prevents further oxidization and protects the steel. For the outer layer to stabilize, it usually takes 4 to 6 months and depending on the climate can range between orange, red, brown, blue, or black. Weathering steel usually comes in cold rolled or hot formed sheets for cladding. Contrary to the rusty appearance of the material, the steel is resistant to further corrosion and has a high strength, making it preferable in cases to other steel alloys. Pine © Charles Hosea Pine is another wood that gains a grey-blueish sheen over time. As the uncoated surface ages naturally and gracefully when exposed to the elements, you can control the silvering by applying pigmented coats of oils to make the timber more UV-resistant. The random charm of this cladding is widely sought after as in many locations it forms a visual connection to the surrounding natural landscape. Marble © Timothy Hursley There's something about aged marble that is reminiscent of Roman antiquities, giving it a certain grandeur as a material. Marble shingles are a rare but exquisite sight too--the Knowlton School of Architecture recently clad their new building with the stone for a spectacular textured surface that wouldn't deteriorate as much as if they had used conventional timber shingles. Copper and Bronze © Jeremy San Copper is a metal that is famed for the green patina it develops across the surface, which takes up to 30 years in a clean environment or as little as 5 years near industrial zones. The light green weathering is caused by copper carbonate and copper sulphate forming in reaction to oxygen in the air, which then provide a protective layer. Bronze similarly oxidizes to form an eventual green patina with rich bronze undertones.  This posting includes an audio/video/photo media file: Download Now |
| Terrazas de la Estancuela Houses / Adolfo Mondejar Estudio de Arquitectos Posted: 26 Mar 2018 02:00 AM PDT  © Gonzalo Viramonte
 © Gonzalo Viramonte Text description provided by the architects. The place is located on the outskirts of La Calera, 20 km away from Cordoba. Urban developments are becoming a housing option specially for young families. The neighbourhood is designed in a former quarry where the topography, the existing vegetation and the impressive views from the city of Cordoba are priorities for the location. A block here allows the subdivision in condominium and this is what leads to the project.  © Gonzalo Viramonte  Section 1  © Gonzalo Viramonte  Section 2 The plot presents a strong slope having the highest point in the street. The project proposes an alternative to the commercialization of this type of housing, adapting the available budget and prioritazing location, landscape, dwelling posibilities, and benefits for the neighbourhood, not just for the plot, trying to utilize the resources at hand in the best possible way.  © Gonzalo Viramonte The idea starts from the impressive connection between landscape, nature, the necesity to preserve the native arboreal species and the opportunity to preserve the views from the street, proposing a lookout in the access floor, where there are located the parking lot and two benches for contemplation of the landscape and the distant city.  © Gonzalo Viramonte  Living floor plan  © Gonzalo Viramonte The design is resolved in regular floor plans, the first one contains the living room, kitchen, laundry room and toilet linked to a balcony that has the dimension of the entire space, creating a unique environment with exclusive views of the landscape. In the lower floor are resolved the bedrooms and the main bathroom linked by a space with the possibility of being used as a living room – bedroom or as a study. The warehouse, the water heater and the pipes are gather in a space that separates the cliff from the building and proposes the isolation of the dampness from the land.  © Gonzalo Viramonte The project pretends to solve with precision the decisions about economy without losing quality in the design, understanding that lansdcape is imperative and that the vegetal species must be preserved at the cost of constructive and location efforts. The roof deck is an opportunity for the neighbourhood to recover the emptiness and permeability that houses in general are not proposing these days.  Sketch 01 The materials used were bought beforehand, stocking ceramic bricks and pretensioned joists, which are the base of the construccion. The wall cladding proposed is a mixture of cement and split stone, similar to the wall cladding made with glass used in our houses from the 50's and 60's, creating a united surface made of the walls and floor. The ironwork and handrails were made with mild steel bars of 18 inches diameter with matte lacquer to recover the natural tone of iron. The roof deck is resolved with split stone linked with the colors of the stone from the site. Reserve tanks were placed under the entry stairs to hide them. Bathroom wall cladding is designed with granitic mosaics and some sanitary devices were reutilized in both the main bathroom and the guest bathroom.  © Gonzalo Viramonte Because of the strong slope of the site, the two blocks do not appropriate the land having therefore a dominating base of native vegetation in the mountain. The proposed lighting is only expresed in the roof deck to discover the arboreal species, letting in the shadows the other vantage points allowing to enhance the landscape of far city lights, and the existing darkness between the neighbourhood and Cordoba's downtown.  Sketch 04 The project tries to go to the necessary, to the decisions that have an impact on the architecture made with average resources, away from the commercial signs that lead the landscape of these neighbourhoods nowadays.  © Gonzalo Viramonte  This posting includes an audio/video/photo media file: Download Now |
| A Deep Dive Into the Sad Story of the Makoko Floating School Posted: 26 Mar 2018 01:00 AM PDT  © NLÉ architects Within a week of its successor being awarded the Silver Lion at the 2016 Venice Biennale, the original Makoko Floating School collapsed. Designed by Nigerian architect Kunlé Adeyemi of NLÉ Architects, the school was located in the Lagos Lagoon in Nigeria. Now, almost two years later, Lagos-based writer Allyn Gaestel has investigated the vulnerable coastal community and architect behind the project in a remarkable narrative nonfiction piece, "Things Fall Apart."  via NAIJ.com Is the story of Makoko Floating School one of a noble architect's attempt to do good or a growing ego in search of fame? As Gaestel writes, "Heroes and villains are rarely pure."  © NLÉ architects Gaestel details the complex moving parts and characters embedded in Makoko Floating School. In the beginning, Adeyemi collaborated with Isi Etomi, a young architect and native Lagosian who compiled a two-volume proposal outlining realistic ways to upgrade the financially distressed neighborhood. As Adeyemi's excitement to create a school on water grew, so did the budget. Eventually, Etomi stepped away from the venture, and so did the funding. But Adeyemi only seemed to work harder—even when police raided Makoko on speedboats, cutting homes down with chainsaws in a violent eviction process. Adeyemi's role became one of not only architect but advocate for the people of Makoko as well. Finally, the school was completed and left under the care of Noah Shemede, the Makoko liaison and school director. .jpg?1521480019 "The second incarnation of the Makoko Floating School in Venice, which won the Silver Lion at the 2016 Venice Biennale. Image © Laurian Ghinitoiu") The second incarnation of the Makoko Floating School in Venice, which won the Silver Lion at the 2016 Venice Biennale. Image © Laurian Ghinitoiu Gaestel brings to light that while Makoko Floating School was being internationally praised for its resilient and humanitarian spirit, the school only held actual classes for about four months in its three-year lifespan. Some architects still consider the structure a worthy prototype for future innovations, but, before its collapse, the residents of Makoko saw it as much more than that. At times, the school, and subsequent national attention, represented a true beacon of hope to what is still an unstable community. Ultimately, as Gaestel's article makes clear, the story of Makoko Floating School isn't easily boiled down. Read the full story at The Atavist Magazine, here. NLÉ's Makoko Floating School Reportedly Collapses Due to Heavy Rain  This posting includes an audio/video/photo media file: Download Now |
| Digital Scaling Ruler Works as a Perfect Architect’s Tool Posted: 25 Mar 2018 11:00 PM PDT  Courtesy of Joanne Swisterski Unproductive meetings attempting to work with drawings that have been printed at the wrong scale, not dimensioned, or in a unit of measurement you're not comfortable with is a frustration we can all relate to. These frustrations are what inspired one designer to create the Smart Scale Ruler, a physical, digitalized ruler that changes to suit your chosen unit of measurement or even work to a scale that doesn't exist.  Courtesy of Joanne Swisterski Joanne Swisterski, the inventor of the Smart Scale Ruler, describes that although the design industry works with more and more advanced technology, the need to use paper drawings in client meetings and at construction sites is still essential: "Despite living in a largely digital world, it will always be a tactile one." The Smart Scale Ruler combines the familiarity of a physical ruler with the expanded possibilities of being digitalized.  Courtesy of Joanne Swisterski The Smart Scale ruler has three functions: Customize, Convert and Divide. With the Customize function, you can work with a drawing that has not been printed to scale, using its reference points to create a custom scale that you can understand the rest of the drawing with. With the Convert function, you can easily switch from Imperial or Metric units of measurement, allowing collaboration between industries and countries to become much more efficient. Finally, with the Divide function, the ruler can split into a desired number of segments, saving the user from having to do the calculations themselves.  Courtesy of Joanne Swisterski With a sleek design, intuitive controls, and a familiar look, it is user-friendly, as well as having a long battery life and the ability to be USB chargeable. The Smart Scale ruler is currently working with Kickstarter and accepting pre-orders at the beginning of April 2018. Learn more from the video below or by visiting their website, here.  This posting includes an audio/video/photo media file: Download Now |
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