Arch Daily |
- Residence RR / monom
- Grilstad Marina / Lund Hagem Architects
- Wave House / Seppo Mäntylä
- Luminous Drapes / Studio Toggle
- Black House / C3
- The Pink Zebra / Renesa Architecture Design Interiors
- The Roof Garden of GRI Headquarters / COBBLESTONE DESIGN CANADA
- Livinn Santiago / RS Arquitectura
- Fonte Nova Square / José Adrião Arquitetos
- Construction Begins on Steven Holl's Institute for Advanced Study Campus Building
- North Fork Bay House / Resolution: 4 Architecture
- COBE & BIG Reveal Images of "Waterfall" Proposal for Copenhagen Aquatic Center
- Twin Houses / Olimpia Lira
- Sharing Your Home with Strangers: What Does the Future Hold for the Co-Living Craze?
- Embassy of Egypt / PROMONTORIO
- LEGO Just Got Stylish: Modular Furniture to Bring Out Your Inner Child
- Spotlight: Mies van der Rohe
- In World's First 3-D Printed Community, Houses will be Built in 24 Hours for $4000
- Walker + Simunic Residence / JaK Studio
| Posted: 27 Mar 2018 10:00 PM PDT  © Tuomas Harjumaaskola
 © Tuomas Harjumaaskola Kersko. A well-known place, a "forest town" with a population of about 200, yet mysterious and ever-surprising. The plot is square, with sides of 100m. Two thirds of the original pine trees are still standing, and young oaks, birch trees and hornbeams have been added. A natural pond has become the focal point of the place and attracts forest creatures, both original and new. The house, a Finnish Honka log house, stands confidently but humbly amongst the trees by the water's surface. It is hardly noticeable from the street. Its occupants imbibe the forest sounds and scents beneath the pine tree crowns.  © Tuomas Harjumaaskola  Axonometric / Scheme  © Tuomas Harjumaaskola Aim. We envisaged the idea of a house in the middle of woods, in the centre of a forest town. The project is about maintaining the stillness and quietness of the forest, and also providing a sense of privacy and security for the residents, while bringing light and air under the tree crowns.  © Tuomas Harjumaaskola  Ground floor plan  © Tuomas Harjumaaskola Concept. The house is placed in the centre of the plot and it half-embraces the water, so this natural pond has become part of the house. The log house is T-shaped, with three wings of various functions and qualities. The main entrance is at the intersection of the three wings. The first wing consists of service spaces and rooms, garages and storage; the second wing consists of bedrooms, dressing rooms, a bathroom and a laundry room; and the third comprises the kitchen, dining room, living room and study.  © Tuomas Harjumaaskola Outside. The façade facing the street is 47 metres long and yet, due to its low height, horizontality and colour, it is very well concealed in the forest. By contrasting with the height of pines, it nicely blends into the woods and elegantly underlines the tall tree verticals. The perpendicular wing behind stretches deep into the centre of the site by the water, and is rather more dynamic. Its roof slope is steeper and its ridge is at a 45-degree angle with the walls, which gives the roof a unique shape. The house exterior is completed with planters and terraces, mostly located near the pond. There are also two big planters at the entrance of the house.  Courtesy of monom  Sections A + B  Courtesy of monom Inside. The interior is defined by the volumetric qualities of the house. The front long wing has a flat roof based on a simple rectangular layout, and as a result the interior space below is modest, rational and human scaled. In contrast, the main living area is located beneath a more dramatic, sloping roof, which results in a space with a greater clear height and with more light and air. There are generous sized windows in this part of the house, mostly facing the pond. The openings in the walls are positioned so that they frame the most picturesque views of the forest, such as the clearing around the water, a path towards a pavilion, or a quiet shadow at the foot of a tall pine.  Courtesy of monom Materials. The nature of a log house is timber. The walls, roof and terraces are made of wood, mostly Finnish pine. The floors are made of oak boards and stone tiles. All the doors are made of oak, the windows are wooden-aluminium, and the roof is made of titanzinc sheets.  This posting includes an audio/video/photo media file: Download Now |
| Grilstad Marina / Lund Hagem Architects Posted: 27 Mar 2018 08:00 PM PDT  © Marc Goodwin
 © Marc Goodwin Text description provided by the architects. Only a 15 minutes' drive from the city center of Trondheim along the Norwegian coastline, a former production site makes a place for a new residential area. When Lund Hagem in 2013 won the competition for a smaller part of it, the statement of the commissioners was very clear: "… to develop a housing project with its very own qualities based on the site and what this specifically had to offer – views, water, exposure. The project seeks to explore these unique local qualities by organizing different housing types in a setting which would not only give everybody access to the sea but also create sheltered common spaces for the community as well as for single individuals.  © Marc Goodwin  Site and Landscape Plan  © Marc Goodwin The long-shaped form of the site with water on three sides, its orientation, and the climate-conditions asked for different housing types. Towards the north and the open sea, two 3-story buildings with flats are located slightly raised above the general outdoor area, protecting the site against the harsh wind from the sea. On the opposite side towards the south, semi-detached 2-story houses are situated along a small canal towards the inland, breaking down the scale as well as optimizing sun into the common outdoor areas and access lane, situated between the volumes.  © Marc Goodwin At the end of this lane where the artificial island meets the water at three sides, 12 single family-houses are located along the edge of the site, making a sheltered outdoor space as well as exposing the length of each house to the waters edge and the view. The sheltered gardens are lifted one floor up making the houses only two floors from the interior view in contrast to the three floors from the water's edge, with access to private dock and boat-parking. Analyses at the beginning of the design process showed, that heavy wind and even storm could occur from all directions throughout the year - including the sunny south – meaning that there was no preferred "balcony-side". Due to that, all flats and houses are orientated towards 2 sides at least, with balconies, terraces, and gardens on both sides.  Ground Floor Plan - Apartments While the single-family and row-houses have terraces on the water with private docks and gardens on the other side of the house, the flats have balconies on to sides. The plan solution also responds to this quality and rooms are located accordingly. All the housing types have kitchen/dining/living with contact to gardens as well as the water's edge. The bedrooms are located some towards the gardens and some towards the long views and water. The Single-family houses have the bedroom upstairs with a closed façade towards the gardens, giving privacy to the house as well as limiting views into the neighboring gardens.  © Marc Goodwin Access to basement and parking is provided under the flats with a connection leading to the parking-level for the single-family houses. Resulting in an outdoor area free from traffic giving the possibility to transforms the lane and common space into green parks and playgrounds for the people living there or passing through. In spite of the different housing typologies, the use of same materials leads to a holistic appearance. All houses are clad with Cedar-wood on the facade. Varying panel widths and vertical/horizontal mounting give each typology its own character and feel, an important detail for playful variation.  Section B1  Section B2 The outdoor space and landscape are developed as a "string" tying it all together. The edges are broken to create a natural flow through the site. Varying local vegetation has been carefully chosen to withstand the harsh climate. The common space belonging to the housing is interacted along the way by play-areas and parks connecting the canal towards the south and the boat harbor towards the north, tying the site/island to the mainland via a bridge as well as to the general network of paths in the area. The local lane culminates in amongst the single-family houses in a fruit-tree "meadow" sheltered from the rough wet exterior.  © Marc Goodwin  This posting includes an audio/video/photo media file: Download Now |
| Posted: 27 Mar 2018 07:00 PM PDT .jpg?1522147521 "© Studio Hans Koistinen") © Studio Hans Koistinen
.jpg?1522147509 "© Studio Hans Koistinen") © Studio Hans Koistinen Text description provided by the architects. Wave is a new generation log home manufactured by Polar Life Haus, a Finnish wooden house manufacturing company. Designed by Finnish architect Seppo Mäntylä, Wave is combination of solid wooden constructions, glass and steel. The unique curving shape of the house was inspired by the design of boats and airplanes. .jpg?1522147553 "© Studio Hans Koistinen") © Studio Hans Koistinen  Plan .jpg?1522147569 "© Studio Hans Koistinen") © Studio Hans Koistinen The house was on show at the annual Finnish Housing Fair held in Mikkeli in July – August 2017. The house won all three categories at the show: the Best House, the Best Interior and the Best Garden.  © Studio Hans Koistinen Polar Life Haus is a Finnish family company dating back to 1907 and is also known as Honkatalot in Finland. The company manufactures individually designed wooden homes and log homes with a special focus on environmentally friendly building materials and the well-being of people and nature. A half of the houses manufactured each year are delivered around the world – mainly Germany, France and Russia. Seppo Mäntylä is one of the leading Finnish wooden house architects. Polar Life Haus has collaborated with him on several projects.  This posting includes an audio/video/photo media file: Download Now |
| Luminous Drapes / Studio Toggle Posted: 27 Mar 2018 05:00 PM PDT  © Gijo Paul George
 © Gijo Paul George Text description provided by the architects. Studio Toggle was invited by Nuqat, a nonprofit organization based in Kuwait to create an outdoor space for their cultural forum "The Human Capital 2018". The location given was the outdoor plaza of the newly opened Sheikh Jaber Al-Ahmad Cultural Centre in Kuwait City. The design of the pavilion stemmed from a desire to create a lightweight, soft and malleable space habitable in novel ways. The pavilion is meant to be colonized based on the activities that it will accommodate. These activities were analyzed and broken down into its anthropometric parameters.  © Gijo Paul George  Modular Fabrication Diagram  © Gijo Paul George These parameters then informed the various taxonomies of voids that catered to the programmed activities and were mapped on to a modular grid. A low-tech, cost-efficient, incremental, modular system was developed using re-usable construction scaffolding and laser-cut IKEA drapes. The voids created by the subtractive operations on the stacked drapes are taxonomized into activity facilitators and occupied as such. A modular grid 3x3M grid is made from construction scaffolding and IKEA drapes are cut and arranged in a pattern derived from a parametric algorithm. The differences in height and width result in people reacting to the spaces in different ways and colonizing it intuitively.  © Gijo Paul George  "Taxonomizing the Voids" Diagram  © Gijo Paul George During the night, the lit pavilion changes its ambiance and makes for a dynamic space. Light is used as a sculptural medium to elevate the perception of both the grid and space. It frames and defines the way the users engage with the pavilion. The pavilion represents an up-cycled habitat generated from a utilitarian and modular grid system.  © Gijo Paul George  This posting includes an audio/video/photo media file: Download Now |
| Posted: 27 Mar 2018 03:00 PM PDT  © Highlite Images
 © Highlite Images Text description provided by the architects. The lush greenery, decorated with mountain mists and flying egrets, not only is refreshing and energizing but has made Tou-Cheng (of Yilan County) the best attraction for a two-day trip. This little town has a magical power that can remind people the true meaning of life.  © Highlite Images Now, amid the greenery a new landscape has unpretentiously arisen. Appearing as a chocolate bar standing amid the green paddy fields, the Black House, though without ostentatious decorations and an eye-catching commercial sign, is a house full of surprises and wonders.  © Highlite Images With the aim to own its brand image of quality life, the Black House is an idea and ideal realized by three siblings of a family and a designer, Po-Lin Chen, affiliated with Chic Design Inc. The original concept of the Black House was a venue for hospitality, parties, and wine tasting. With the hope to combine her specialty in fashion design and her interest in coffee, the hostess of the Black House works with designer Po-Lin Chen and turn the original concept into a new brand --- the Black House.  © Highlite Images  1F plan  © Highlite Images With a three-story structure, the Black House appears as a barn that blends in well with the surrounding paddy fields. In the front, a metal gliding door guards the glass entrance of the house so that the house is safe during typhoons. On the first floor is a café and the house reception and on the second and the third floors are guest rooms. Guests of the café and those of the house use different entrances so that privacy of all guests is respected.  © Highlite Images The guest rooms on the second and the third floors are of distinctive styles. The guest rooms on the second floor are designed to be comfy and homey, while those on the third floor are stylized with sophistication. All the six guest rooms in the Black House come in a particular theme. Book lovers or wine tasters, for example, can definitely find a room they belong to.  © Highlite Images  3F plan  © Highlite Images There are of course rooms for families, especially for families with children; they are also known as "house in the House". All the rooms are connected to a common room on the second floor. This common room serves as a concourse for all staying guests so that they get to mingle and chat with each other and even enjoy their midnight snacks together.  © Highlite Images One room is particularly remarkable and it really makes the designer, Po-Lin Chen, proud. This room can be considered a little suite. The little suite, though a part of the Black House, is a little luxurious house on its own right. With a delicate design, the little suite has its own entrance, a staircase that connects the three stories, and a secret garden with a swimming pool. This little suite is especially for those looking for complete privacy.  © Highlite Images  2F plan  © Highlite Images Simple as it appears, the Black House is in fact intricate and delicate. No other place in Taiwan suits the Black House better than Yilan, for this county is vigorous and full of possibilities. Every guest here will definitely be touched by the hosts' and the designer's passion, their imagination, and the practicality of the brand of the Black House.  © Highlite Images  This posting includes an audio/video/photo media file: Download Now |
| The Pink Zebra / Renesa Architecture Design Interiors Posted: 27 Mar 2018 01:00 PM PDT  © Saurabh Suryan - Lokesh Dang
 © Saurabh Suryan - Lokesh Dang Text description provided by the architects. Merging Funk into Details - A Concoction of Design Theories. The Pink Zebra aka Feast India Co. (FIC) is a take on the bygone British Culture in the city of Cawnpore. With the extravagance of the European Grandeur, not many know how important the city of Cawnpore(now Kanpur) was to the British Corporation of India. The design story initiates the change over time by re-writing an architectural essay through this space amalgamation of old with the quirkiness of Art Nouveau glitz (which can be seen throughout the city)  Exploded View  Exploded View The purpose of making "The Pink Zebra" was to speak of a complex and contradictory architecture based on the richness and ambiguity of old and modern experience including that very experience which is inherent in art. The core idea was to create a hybrid rather than pure, compromising rather than clean and leave the visitor hanging in the middle of an artistic sea.  © Saurabh Suryan - Lokesh Dang Ideating initiated from the clients love for Wes Anderson's set ideology and his love for fearful quirkiness along with constructed frames throughout this space.The love for extreme symmetry and restricted color palettes can often give the expression of a surreal , self contained world but adding that certain bizarre element to break that monotony of Wes's spatial ideology came through the black and white zebra lines dipping themselves in the pink monotone set in the British Raj's colonial order.  1st Floor Plan  © Saurabh Suryan - Lokesh Dang  Terrace Floor Concept  © Saurabh Suryan - Lokesh Dang The simple idea was to create a distinct aesthetic architectural style that connects to the city people and poses its stand by the use of a striking color palette . The Pink Zebra with its unique facade design creates an everlasting effect on the passersby and invites them into a magical , expertly crafted world whose spaces are framed to treat the eyes.  © Saurabh Suryan - Lokesh Dang  This posting includes an audio/video/photo media file: Download Now |
| The Roof Garden of GRI Headquarters / COBBLESTONE DESIGN CANADA Posted: 27 Mar 2018 12:00 PM PDT  © Yijie Hu
 © Yijie Hu Text description provided by the architects. The project finds its location on the top of the No. 1 building in "Jinhuan Huizhi Tiandi", which positions on Yongdeng Road, Taopu District, Shanghai. Designed by COBBLESTONE, "Jinhuan Huizhi Tiandi" is an industrial economy park that was completed in 2012. This open park comprises of seven single buildings which are in differentiated scales and arranged randomly.  © Yijie Hu Taking advantage of the turns, breaks and continuities among geometries, this project embodies the bitter struggles of industrial buildings in the urban development. In 2015, design team carried on with the design of indoor offices on the 11th and 12th floors, as well as the roof garden on top of the 12th floor.  Perspective Widely different from the modern official park and the indoor offices, the roof garden intends to be far from the madding crowd in the transitory city, to recover the serenity and simplicity in the city, and to create an absolutely peaceful and harmonious atmosphere in a place that is closest to heaven.  © Yijie Hu Set on top of the 12th floor, the roof garden is surrounded on all four sides by a fence structure with a height of 3.6 m. Therefore, it is almost totally secluded from the outside, and the only opening is up toward the sky. On the left and right sides are vertical stairways and equipment rooms with water tank.  Axon On the north are wood-structured indoor activity rooms and meeting rooms. The roof of the wood structure is covered by shingles that are arranged to form an undulant broken-line surface. In this way, it is not only convenient in drainage, but also efficient in displaying the supporting and jointing components of the wood structure, as well as the classical and economical characteristics.  © Yijie Hu The indoor activity space and the outdoor garden are connected by a wood-structured portico, in which people can enjoy sightseeing or appreciate the overhead structure, which is really pleasing. Green space and rest space alternate in the garden, dividing the whole space into two scenarios with distinct features: one is serene, the other is open. But these two apparently-separated spaces are actually linked by river systems, which enrich the value of the scenery.  © Yijie Hu The layered stones in the corner are well arranged to form the skeleton of the garden; altogether, with bamboos and flowering shrubs in the background, colorful Nandina Domestica, Redlowered Loropetalum, and evergreen Cycas Revoluta in the corners, and gnarled tree bonsai at the key points, they compose an elegant and tranquil stone-and-wood garden. The central pond is broad and shallow, paved with pebbles in the bottom and scattered with yellow stones, reflecting the blue sky.  © Yijie Hu On the borders are plants like Cycas Revoluta, Chinese Pagoda tree and Chinese Jasmine. The water body near the portico is vertically elevated in layers ( with the help of steel plates welded on stilts), not only creating waterfalls landscape, but also coming close to visitors in the portico, thus enhancing the pleasure of space under the portico. With the bamboos encircling the garden, the water body surrounding the platform, activity spaces like stepping stone on water surface, platform and portico clustering around the water body, visitors can find the sceneries in the garden change their aspects at every turn.  © Yijie Hu Several yellow stones lying on the water, streams coming down the stones, together with flowering trees, waterfalls and fountains, all make the visitors linger here and reluctant to leave. Above the water surface, there is also a wooden platform, on which a few cane chairs and tea couches are placed for visitors to enjoy a rest when they have free time. Big stepping stones connect the garden and the side corridor of the building.  © Yijie Hu A wooden "moon gate" is set on the east side of the stepping stone. The color of the gate is plain and classic, and the frame of the gate providing an unparalleled picture by bringing together the following elements: round and gnarled tree bonsai, scattering yellow stones and the mirror-like water surface without any ripple. Above the moon gate, there is a wood-structured gazebo extended from the top of the machine room, which provides people with a place to lean over the rail and look at the distance.  © Yijie Hu The wood panels on the walls and wood floors of the whole wooden structure use brown water based paint coverings, highlighting the elegance and simplicity. In such a limited space, this garden wonderfully embodies the "secluded" taste with the help of traditional landscape architecture concept —"accumulate, conceal, penetrate, borrow, seclude, twist, scatter and reveal", using various landscape elements like wood structure, continuous broken-line slope, portico, piled up hills, pavements, plants, ponds and fountain. Different from the aesthetic taste and inherent quality of the official park, the design of the roof garden provides a "nest" for people living in the noisy city.  © Yijie Hu  This posting includes an audio/video/photo media file: Download Now |
| Livinn Santiago / RS Arquitectura Posted: 27 Mar 2018 10:00 AM PDT  © Nico Saieh
 © Nico Saieh Text description provided by the architects. The relation between a building and its immediate context is a constant and ever present factor in architectural design. Sometimes you go for mimicry, integrating into the building the geometry and materials as a respectful nod to the surroundings. Others, you may seek to stand out, highlighting your differences and to explore new ideas.  Axonometric The request to design a student building situated in the middle of the city's historic center pushed us to look for a balance between both positions, aiming to find a solution that was both contemporary to the youth and respectful to the place.  © Nico Saieh We decided to explore further than the immediate surroundings and took inspiration from the buildings in the close civic neighborhood of Paseo Bulnes, abstracting their general shape into elements of base, body and crown to be applied in the design.  © Nico Saieh  Ground Floor Plan  © Nico Saieh  Second Floor Plan Once the general shape of the building was decided, it was combined with modern systems and materials, looking for balance. With this in mind, we chose to clad the building with contrasting metal panels with a black monolithic background with wooden accents.  © Nico Saieh  Third to Nineth Floor Plan  © Nico Saieh In essence, the juxtaposition of historic geometry and proportions with new materials and technologies allowed the project to set itself as a blend of different times, reminiscent of contemporary design and XX century Chilean architecture.  © Nico Saieh  This posting includes an audio/video/photo media file: Download Now |
| Fonte Nova Square / José Adrião Arquitetos Posted: 27 Mar 2018 08:00 AM PDT  © Fernando Guerra | FG+SG
 © Fernando Guerra | FG+SG Text description provided by the architects. Until mid 20th century, the site area was a farming territory in Benfica, northwest Lisbon. A water stream (Ribeira de Alcântara) provided plenty water to assure fertile lands. Water streams and fountains were a landmark. Fonte Nova (in eng. New Fountain) became the popular name from which the area was known. The site was crossed by an important road in Lisbon’s urban fabric: Estrada de Benfica. In the sixties, the radial city road (2a Circular) was built. A flyover of 2ª Circular divided the site in half. This condition had a big impact in the area: the farms were destroyed and the continuity of local roads and pathways were broken. Over the years, the site became a parking lot, and end up using all the space available.  © Fernando Guerra | FG+SG  © Fernando Guerra | FG+SG  Plan  © Fernando Guerra | FG+SG For 50 years, the massive presence of parked cars was the main site feature. In 2015, Lisbon City Hall released an urban development master plan to improve the city neighborhood’s squares: “Uma Cidade em Cada Bairro”. The project area was 3,5 hectares and the strategy was to define an extended paved area that aimed to re-establish the connections lost when the parking lot and flyover was built.This operation was an opportunity to reduce by 50% the parking lot area in favor of soft mobility and leisure spaces. The project aimed to be attractive to people of all ages, to be inclusive, friendly and casual. The use of space can be active or contemplative. The public space should be easily understood by all.  © Fernando Guerra | FG+SG  © Fernando Guerra | FG+SG The square design takes advantage of the existing trees – tipuana-tipu. The forest was conserved, keeping all the specimens, giving them room to grow. The tree’s shadows and clearings became an important site feature. The pavement is in concrete, in specific locations, it’s punctuated by leisure spaces in the form of “islands”. Inside each of these “islands” different activities take place. There are kiosks and terraces, a fountain, a dog park, a playground and two garden areas. The islands forms are limited by concrete bench boundaries. There are 4 bench types: straight, curve and 2 types of individual seats with different back angles. The area covered by flyover is lit during the night allowing 24 hours of multiple activities, protected by the sun and by the rain. The materials are resistant and easy to maintain.  © Fernando Guerra | FG+SG  Plan The choice was to use materials common in Lisbon’s public spaces like the popular “vidraço” stone or granite suitable for each activity. In many cases it was possible to clean and reuse pavements found onsite like, in one “island”, where a pavement with a sixties design was totally reused.The road lanes were modified: the car lanes widths were reduced to lower car speed and the bus lanes were planned for better performance. The sidewalks width increased for pedestrian safety and comfort and suitable for special mobility needs. A bike lane was implemented connected to Lisbon’s bike lane network. For night use of the public space, it was installed a new system of LED street lights. A warm tone color light faces the ground and a cooler tone light faces the tree’s crowns. Because of the intervention area with a large extension, the construction works were made by phases. This strategy allowed, on one hand, to decrease the impact of the works in the user’s daily lives; on the other hand, it was possible for the users to gradually get to know the renovated space and use it.  © Fernando Guerra | FG+SG  Plan  © Fernando Guerra | FG+SG Pedestrian circulation became more fluid and safe, protected and away from the car circulation. People gather around the “islands”, sitting on the benches. The “islands” are perceived as visually interesting. Depending on the weather, people, alone or in groups, look for shaded or sunny areas to sit. When alone, people tend to read or relax under the trees. When in a group people tend to sit in informal ways, facing each other’s to talk. The benches around the “island” areas, the playground, dog park, and the coffee terraces on the area became gathering spots. The new street light system, especially in the flyover area, improved a sense of safety and more and more users from all ages use the space at evening and night times. Before the intervention, the neighborhood lacked a space of public social interaction. Praça Fonte Nova is gradually becoming that space. A space that welcomes all, a place of freedom and safety, where a sense of community takes place.  © Fernando Guerra | FG+SG  This posting includes an audio/video/photo media file: Download Now |
| Construction Begins on Steven Holl's Institute for Advanced Study Campus Building Posted: 27 Mar 2018 07:00 AM PDT  Courtesy of Steven Holl Architects The groundbreaking ceremony has taken place for Rubenstein Commons, a $20 million campus building for the Institute of Advanced Study in Princeton, New Jersey. Designed by Steven Holl Architects, the scheme aims to provide space for enhanced collaboration and communication between faculty and scholars at "one of the world's leading centers for curiosity-driven basic research." The ceremony took place on March 14th, the birthday of famed physicist Albert Einstein, who spent the last twenty-two years of his life working at the Institute.  Courtesy of Steven Holl Architects  Courtesy of Steven Holl Architects Having been selected as the winner of an invited competition to design the Rubenstein Commons in 2016, Holl's scheme is to be situated on a major pedestrian route at the center of the campus, providing a multitude of social and office spaces. The building will also act as a venue for the display of images and materials illustrating the Institute's history, contributions, and scholarly community.  Courtesy of Steven Holl Architects  Courtesy of Steven Holl Architects
 Courtesy of Steven Holl Architects  Courtesy of Steven Holl Architects The Rubenstein Commons scheme is Steven Holl's second building in Princeton, NJ, with the Lewis Arts Complex at Princeton University completed in October 2017. News via: Steven Holl Architects  This posting includes an audio/video/photo media file: Download Now |
| North Fork Bay House / Resolution: 4 Architecture Posted: 27 Mar 2018 06:00 AM PDT  Courtesy of Resolution: 4 Architecture
 Courtesy of Resolution: 4 Architecture Text description provided by the architects. With direct access to Great Peconic Bay, this prefab beach house is designed to be a weekend retreat for a young Brooklyn family of four, and seasonal residence for the client's Florida-based parents. The prefabricated modules are set atop the site-built steel frame, allowing for views of the bay as one arrives via the long, tree-lined gravel drive. While the house is not technically within a FEMA-designated flood zone, the strategy of lifting the house is a direct response to the client's concerns about potential flooding in the future. Simultaneously, this strategy provides outstanding views of the bay from the main level, while creating shaded and sheltered outdoor space below the house for parking, lounging, and woodworking—including the grandfather's latest project: building a small sailboat.  Courtesy of Resolution: 4 Architecture  Plans  Courtesy of Resolution: 4 Architecture One gains entry via an open-riser exterior stair to a courtyard deck, where adjacent trees fill the view and sunlight flows into the house. Full-height sliding glass doors facing the bay connect the open-plan communal space to a large bayside deck and the beach beyond.  Courtesy of Resolution: 4 Architecture  Courtesy of Resolution: 4 Architecture As a weekend retreat, the family's two young girls enjoy their bunkroom with custom built-in Baltic birch bunk beds and integrated toy cubbies. Parents and grandparents also appreciate their own custom built-in Baltic birch bed platforms with integrated side tables and headboards, as well as the built-in natural maple wardrobes. Interior materials evoke a beach vibe, and make for easy cleaning: large-format tile flooring throughout the home, subway tile bathroom walls with glass mosaic tile accents, Caesarstone countertops, Corian backsplashes, maple cabinets, Baltic birch millwork, and stainless steel appliances. Exterior materials—chosen for their durability—hold up to the harsh coastal climate. Kynar-coated corrugated aluminum siding withstands the corrosive salt air while providing beautiful tone and texture. Warm natural cedar used for siding, railings, the outdoor shower enclosure, and the brise-soleil—along with Ipe decking—complement the cool metal siding.  Courtesy of Resolution: 4 Architecture  This posting includes an audio/video/photo media file: Download Now |
| COBE & BIG Reveal Images of "Waterfall" Proposal for Copenhagen Aquatic Center Posted: 27 Mar 2018 05:00 AM PDT  Courtesy of COBE / BIG Danish firm COBE has released images of their proposed aquatic center in Copenhagen Harbor, a scheme entered for a design competition which was won by Kengo Kuma. The proposal, designed in collaboration with Bjarke Ingles Group (BIG), formed part of COBE's competition-winning masterplan for Paper Island, which was chosen for development in 2016.  Courtesy of COBE / BIG  Courtesy of COBE / BIG The COBE proposal for the aquatic center, named "The Waterfall," consists of a large public hall containing a range of aquatic facilities connected by a "continuous cascading flow of waterfalls." The profile of the center adheres to the distinctive roof motif of the Paper Island masterplan, with large sloping surfaces and gables orientated towards the harbor waterfront, and a twisted form addressing both the harbor and surrounding public space.  Courtesy of COBE / BIG  Courtesy of COBE / BIG
 Courtesy of COBE / BIG  Courtesy of COBE / BIG Having prevailed in the design competition, Kengo Kuma's aquatic center will form part of a masterplan for the artificial Paper Island, which also includes housing, commercial space, and galleries. The masterplan was designed by COBE following an international competition in 2016, with the aquatic center being the focus of a separate design competition in 2017. Apart from Kengo Kuma and COBE, the competition for the aquatic center attracted submissions from firms such as AART, 3XN, and Studio Octopi.  Courtesy of COBE / BIG  Courtesy of COBE / BIG News via: COBE
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| Posted: 27 Mar 2018 04:00 AM PDT  © Tomás Rodríguez
 © Tomás Rodríguez Text description provided by the architects. The commission comes from two families who are friends and neighbors and who decide to build identical houses on a site near Ranco Lake. The houses needed to house up to 12 people on periods of vacations and weekends, all year round. Lastly, the project had to privilege family life with a permanent interaction between its dwellers. Both sites have similar conditions regarding topography and distance to the access road but differed in the surrounding conditions. While one site was clear of trees, the other was immersed in a native forest. For this reason, the projects are not subject to specific views.  © Tomás Rodríguez  Floor Plan  © Tomás Rodríguez Given the use requirements and site conditions, the houses are laid out as an isolated volume, with a square plan and centripetal distribution, with fire as the unifying element and center of the project. Each 18m x 18m square plan is divided into 9 squares. The middle squares form a cross, which is used as one open, continuous, flexible and shared space. At the center is the chimney, hanging from a double height with lateral skylights. This way the stone and steel artifact is transformed into the main element of the house and a space in itself, which is shared by the different activities of common living (eating, cooking, living, playing and circulating).  Sections On the other hand, the corner squares have lower ceilings and serve as more private spaces for bedrooms, bathrooms and facility areas. The position of the square plan is determined by cardinal direction, setting the open space cross as a wind rose. This way sun enters the open space and transforms it during the pass of the day.  © Tomás Rodríguez Lastly, the cross space opens visually and physically to four roofed terraces in each of its ends. This way the exterior is incorporated into the common space as well. Both houses are identical in distribution but vary in its finishes according to the personal requirements of each family.  © Tomás Rodríguez  This posting includes an audio/video/photo media file: Download Now |
| Sharing Your Home with Strangers: What Does the Future Hold for the Co-Living Craze? Posted: 27 Mar 2018 02:30 AM PDT  © Danist Sey Peng What if your apartment was more than just a place to live? What if it was a catalyst for social interactions? Or what if it removed the everyday tedious tasks of cleaning, paying bills, and buying furnishings? Co-living, a modern form of housing where residents share living spaces, is aiming to do just that. Co-living is growing in popularity in major cities such as London and New York, where increasing housing prices are forcing residents to look at new and adaptive ways to rent in the city. When we discussed the ambitions and inspirations behind the co-living movement in 2016, it was still a concept that was in its relatively experimental stages. Today, co-living is more focused in its mission, and has found success by pushing people together through a collection of common themes: a yearning for social connection, participation in an increasingly shared economy, and the affordability of a convenient housing solution. In response to their prediction that co-living will increase in popularity, IKEA's research Lab SPACE10 and digital designers Anton & Irene launched One Shared House 2030, a global online survey that aims to determine not only how people would like to live together, but also what they would be willing to share—or not—with their fellow residents.The ultimate goal of the survey was to understand how co-living designs can be improved based on what types of spaces and freedoms residents prefer. More than 7,000 people from almost 150 countries took the survey, and the results are a little surprising. Here's what SPACE10 learned about what people think about the concept of co-living:
Strangely, what we can tell from these results is that what co-living communities such as Common and WeLive are actually providing is largely the opposite of what people most desire in these unique living situations. While residents wanted to share a home with 4 to 10 people, most co-living companies are designing giant skyscrapers which house hundreds of people, losing the intimacy of having just a few roommates. WeLive is building a building in Seattle that will house more than 384 co-living residents and Ollie, another emerging company, is launching its own program which will settle almost 500 apartments in a single co-living house in Queens, New York. If people are most interested in developing social relationships, then why are these companies looking more towards the scale of a hotel?  © Pujohn Das It seems from this SPACE10 survey that no co-living company has yet to develop the ideal living situation that strikes a balance between the scales of large housing and intimate human interaction. Perhaps this is the problem with the WeLive and Common housing model. Instead of aiming to understand what potential residents want to have in their homes, the model is dictated by what each company prefers, forcing their target demographic of dwellers to adapt to the specifics of what their living situation will be, rather than the other way around. This disconnect between the SPACE10 survey and the actuality of co-living might be largely due to the fact that the survey was taken by a diverse group of people, while most co-living models currently only market to a specific demographic: younger residents, many of whom are new to the city. This target market may not know exactly what type of housing they want to live in, so they seek out a convenient and temporary solution where all of the work of buying furniture, paying utilities, and cleaning services are sold in one package. Moving forward, the success of co-living could come through a few different practices. Companies could either increase their appeal to the younger demographic, finding ways to make their living situation even more convenient, or they could design a variety of spaces to rent to residents based on what each individual person may prefer. In the end, it comes down to a factor of trade-offs. Would you rather feel like your apartment is a megalopolis of random roommates but have every amenity imaginable? Or would you prefer an intimate loft with shared with a tight-knit, ad-hoc family but have to go out of your way for everything?  This posting includes an audio/video/photo media file: Download Now |
| Embassy of Egypt / PROMONTORIO Posted: 27 Mar 2018 02:00 AM PDT  © João Morgado
 © João Morgado Text description provided by the architects. Located in Lisbon’s affluent quarter of Restelo, the new Embassy of Egypt stands on a plot in Avenida Dom Vasco da Gama which is typologically characterized by a string of large free-standing villas of the 1940s and 50s, many of which have been gradually been converted into diplomatic representations.  © João Morgado An embassy building is just as much a harbor and a safe-haven for its citizens, as it is the state’s foreign representation at the highest level. It combines the idea of sheltering and safety, with the symbolic values of the country’s history and culture. In this case, the compactness yielding from the plot’s regulatory constraints ultimately served as a design metaphor, having in mind Egypt’s founding tradition of massive stereotomic; one that emphasizes a certain idea of solemnity, the latter an essential element of embassy protocol.  Axonometric With this in mind, the building is essentially a monolith composed by three thick slabs combined with an interweaving mass of patterned walls with bas-reliefs discreetly evocative of ancient Egyptian geometric motifs. Following the classical post-and-lintel system, these walls are interrupted at specific positions to form windows, while on the upper floor each corner forms a balcony by receding and revolving from one angle to the next. The facade is in precast concrete panels of a deep anthracite pigment that emphasizes the monumental gravitas of the ensemble, at the same time contrasting with the lightness of the window frames, which are handcrafted in delicate bronze coated stainless steel profiles.  © João Morgado Clarity of public and private circuits, as well as full visibility of visitors’ access, is a critical security issue at the core of the design. Positioned like a large 19th-century villa in the center of the plot, surrounded by a tight garden on its contiguous sides, car access is made by a gentle ramp from Vasco da Gama avenue. On the opposite side, a security gateway surveys and filters pedestrian public access to the embassy and to the consulate, respectively.  Section Details Inside, care has been taken to choose materials that weather gently and grow patina over the years, instead of becoming rundown. With that in mind, the public areas are in large white stone slabs with wainscots and paneling in painted wood. Finally, the centerpiece of the public area, an atrium with a kind of Babelesque stairway, that, like an Appian stage, is clad in a veiled solid wood railing that migrates to the walls to become an all-encompassing panel. This central atrium is crowned by a skylight coffin which is filtered by an Islamic patterned louver that generates a kaleidoscopic light, casting a revolving shadow across the day.  © João Morgado  © João Morgado  This posting includes an audio/video/photo media file: Download Now |
| LEGO Just Got Stylish: Modular Furniture to Bring Out Your Inner Child Posted: 27 Mar 2018 01:00 AM PDT  Courtesy of Studio NINE For all those Brickheads out there, interior designing has just reached another Lego-filled level. Created by an Italian team of designers, Stüda has made the dream of Lego compatible furniture a reality. Their modular furniture comes in an array of colors textured in studs that are capable of holding the infamous bricks and can be customized to your heart's content.  Courtesy of Studio NINE The furniture is rather stylish too, with infinite possibilities it means you can match the surfaces to any ornament or complement any color scheme in the room. The base can hold anything, from heartfelt messages to rockets, houses or landscapes. The corian modules also benefit from being durable and easy to clean so that you can let your creativity run wild.  Courtesy of Studio NINE Particularly to us architects, the craze for Lego is ever-increasing thanks to BIG's Lego House completed last year. We have seen Lego being used in restoration projects, as tape and architectural scale models, but now anyone can furnish their home with the humble building block.  Courtesy of Studio NINE  Courtesy of Studio NINE News via: Studio NINE.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 27 Mar 2018 12:30 AM PDT  Barcelona Pavilion. Image © Gili Merin Ludwig Mies van der Rohe (27 March 1886 – 17 August 1969) is one of the most influential architects of the 20th century, known for his role in the development of the most enduring architectural style of the era: modernism. Born in Aachen, Germany, Mies' career began in the influential studio of Peter Behrens, where Mies worked alongside other two other titans of modernism, Walter Gropius and Le Corbusier. For almost a century, Mies' minimalist style has proved very popular; his famous aphorism "less is more" is still widely used, even by those who are unaware of its origins.  Mies van der Rohe with smoke, 1957; photographed for Life magazine. Image Courtesy of Frank Scherschel/Time & Life Pictures/Getty Images Mies began to develop this style through the 1920s, combining the functionalist industrial concerns of his modernist contemporaries and an aesthetic drive toward minimal intersecting planes—rejecting the traditional systems of enclosed of rooms and relying heavily on glass to dissolve the boundary between the building's interior and exterior. The decade was bookended by his proposal for the Friedrichstraße skyscraper, an unrealized all-glass tower designed in 1921 which cemented his fame within the architectural avant-garde, and by his 1929 German Pavilion at the Barcelona Exposition (more commonly known as the Barcelona Pavilion) which remains one of his most well-known and popular works.  Chicago Federal Center. Image © Samuel Ludwig In 1930, Mies took over from Hannes Meyer as director of the Bauhaus—the school founded by and most commonly associated with its founder Walter Gropius—serving as its leader until it was forced to close in 1933 under pressure from the Nazi government. In 1932, the work of Mies formed a cornerstone of the Museum of Modern Art's exhibition on "The International Style" curated by Philip Johnson and Henry-Russell Hitchcock, an exhibition that not only reinforced Mies' role as a leader of the modernist movement, but also brought the movement itself to a wider, more international audience.  The Farnsworth House. Image © Greg Robbins After the closure of the Bauhaus and the continued rise of the Nazis in Germany, Mies found work in his home country increasingly difficult. He eventually decided to emigrate to the United States in 1937, where he settled in Chicago and became the head of the Illinois Institute of Technology. During his 20 years at IIT, Mies developed what became known as "the second Chicago school of architecture," a style of simplified, rectilinear high-rise buildings exemplified by projects such as 860-880 Lakeshore Drive and the Seagram Building. Alongside this new skyscraper typology, he also continued to develop his low-slung, pavilion typology that he first tested in projects like the Barcelona Pavilion—with his entirely transparent Farnsworth House, completed in 1951, probably the most enduring example in the United States. At times, Mies was also able to combine both of these typologies into one composition, as he did in the three-building complex of the Chicago Federal Center. Check out all of Mies van der Rohe's classic designs featured on ArchDaily via the thumbnails below, and more coverage of Mies through the links below those. A Virtual Look Into Mies van der Rohe's Farnsworth House A Virtual Look Into Mies van der Rohe's Barcelona Pavilion Step Into Mies van der Rohe's Barcelona Pavilion in this Virtual Walkthrough Infographic: Celebrating Mies van der Rohe Mies van der Rohe: "Architecture as Language" Reflections, a Tribute to Mies van der Rohe's Barcelona Pavilion From Mad Men to Mies: Why Modernism Holds Sway Mies, the Modernist Man of Letters Material Masters: Glass is More with Mies van der Rohe The Story of Mies van der Rohe's Farnsworth House to Become Hollywood Film Mies van der Rohe's Other Illinois Home, the McCormick House, to Undergo Restoration Mies van der Rohe's Barcelona Pavilion "Dematerialized" With All-White Surfaces How an Artist Constructed a Wooden Replica of Mies' Farnsworth House Last Is More: The Miesian Lesson Thanks for the View, Mr. Mies: Lafayette Park Detroit Mies van der Rohe by Edgar Stach  This posting includes an audio/video/photo media file: Download Now |
| In World's First 3-D Printed Community, Houses will be Built in 24 Hours for $4000 Posted: 26 Mar 2018 11:00 PM PDT  Courtesy of ICON and New Story Tech gets a bad rap for serving developed economies in the interest of money-making. It often takes a few cycles for the technologies that are truly helpful to reach the developing world, hence the unfortunate, slow-draining term called the "trickle effect." ICON, a construction company in Austin, Texas, and New Story, a non-profit focusing on housing, have come up with a 3D printer that can build move-in-ready houses for just $4000. The printer, called the Vulcan, is capable of printing a 650sqft, single-story home out of cement in 12-24 hours. And perhaps as a small way to upturn the trajectory of innovation, they are going to move the printer to Latin America, to create the world's first 3D printed community in El Salvador by next year. The proof-of-concept home currently sits in Austin, Texas. The house has a living room, bedroom, bathroom and a curved porch. It was unveiled during the SXSW Conference 2018 earlier this month.  Courtesy of ICON and New Story  Courtesy of ICON and New Story  Courtesy of ICON and New Story  Courtesy of ICON and New Story  Courtesy of ICON and New Story The main material used is Portland cement. These homes are expected to last as long or longer than standard Concrete Masonry Unit (CMU) built homes, and are built to International Building Code (IBC) structural code standards. And although they are only planning to build up to 800 square foot homes for now, the printer is set on tracks on an axis, so it theoretically has an unlimited print area.  Courtesy of ICON and New Story  Courtesy of ICON and New Story  Courtesy of ICON and New Story The companies are choosing to move to El Salvador because they believe these 3D printed homes can be a powerful contribution to a region that is hard-pressed for shelter. They have also started fundraising campaigns so that donors can fund a 3D home for a family. In Latin America, 33 million people live in slums, and "homeless shelters" and similar services do not exist for the most part. Furthermore, human built equivalent houses take between 13 to 20 days to complete, and can cost way more due to labour and time. Hopefully, with the Vulcan, users can now download, print, and move in to a new house in a day, and live in it for generations to come.  This posting includes an audio/video/photo media file: Download Now |
| Walker + Simunic Residence / JaK Studio Posted: 26 Mar 2018 10:00 PM PDT  © Francesco Russo
 © Francesco Russo Text description provided by the architects. The clients, a young professional couple, owned the top floor flat of a large detached Victorian property in Crouch End, North London, and wanted to extend their home to the attic floor.  © Francesco Russo Instead of a traditional two-storey apartment, the design aims at taking advantage of the height by breaking up partially the attic floor and creating a flat roof dormer to offer a cathedral space to the main living area.  Section The double height glazing, which leads to a small terrace, brings a great deal of light to the loft and offers breath-taking views onto North London and Alexandra Palace. The mezzanine space hosts the master bedroom with its en-suite and its own terrace.  © Francesco Russo While the external appearance of the extension is subservient to the existing building and surroundings, with matching brickwork and zinc roof, its internal decoration features exposed brickwork, bare concrete wall and copper finishes, giving an industrial touch to the loft. A timber paddle stairs and two concrete chimney breasts frame this immense space and act as focus points.  © Francesco Russo  This posting includes an audio/video/photo media file: Download Now |
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