Arch Daily |
- Länsisalmi Power Station / Parviainen Architects
- Casa Öcher / MLMR Arquitectos
- Sportcampus Zuiderpark / FaulknerBrowns Architects
- Louvers House / MIA Design Studio
- MK-S Nursery / HIBINOSEKKEI + Youji no Shiro
- ƯU ĐÀM Vegetarian Restaurant / Le House
- House of Ginseng / SML + THE CORNERZ
- European Commission Launches Loi 130 Architectural Competition
- Greenacres House / Austin Maynard Architects
- Logan Certified / moss Design
- Foster + Partners Reveal "Sanctuary" Chapel for Vatican Pavilion at Venice Biennale
- Retrofit in the Castelo Branco Building / Andrade Morettin + GOAA
- Mexican Water-Managing Public Space Triumphs in Global LafargeHolcim Awards 2018
- Ortega House / Estudio A0
- Architecture's Evolving Role: How Community-Engaged Design Can Encourage Social Change
- Wish School / grupo garoa
- Frank Gehry Selected to Design Colburn School Campus Expansion in Los Angeles
- WKCDA Announces Winners of the Inaugural Hong Kong Young Architects and Designers Competition
| Länsisalmi Power Station / Parviainen Architects Posted: 28 Mar 2018 10:00 PM PDT  © Mika Huisman, Decopic
 © Mika Huisman, Decopic Text description provided by the architects. The power station is sited at a highly visible location at the corner of Ring Road III and the Porvoonväylä highway. The construction project dealt with the expansion and renewal of Fingrid's 400 kV Länsisalmi electric power station. Electricity is transmitted from Fingrid's main grid through the power station to the 800 000 residents of Vantaa and Helsinki.  Site Plan The architectonic concept derives its inspiration from electricity and its visual manifestation: light. The juxtaposition of energy flowing through the power station with the flow of vehicular traffic passing by the site inspired us to create a visually attractive and memorable architectural entity.  © Mika Huisman, Decopic The placement of the building volumes on the site, as well as their plan configurations, follow functional requirements without, however, setting any strict boundaries that would have inhibited creative and open-minded architectonic expression. Thus what is generally a greyish and nondescript transformer building became a gleaming lantern and an ordinary vertically trussed landscape portal became an approximately 50 metre-high classically arch-shaped icon for the area.  North Facade The transformer building's main materials are naturally coloured graphic concrete and glass. The facades' most visible themes are cladding elements assembled from glass planks detached 600 mm from the main volume. When the interstice is illuminated in the evening, the lantern-like buildings express electricity as a visible phenomenon. The selected glass type provides a direct association with the glazed insulators used extensively in the electricity distribution industry.  © Mika Huisman, Decopic A switchgear room and its cable space underneath occupy the largest spaces in the 3-storey concrete-framed GIS building. Other technical facilities are distributed over three floors on the building's southern side.  © Mika Huisman, Decopic The high arch-shaped landscape portal has been fabricated from Corten steel tubes with a diameter of 800 mm. Corten steel's maintenance-free characteristic was an important factor in its selection for such a high structure. Corten's natural and warm rusty colour resonates harmoniously with the other façade.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 28 Mar 2018 08:00 PM PDT  © Josema Cutillas
 © Josema Cutillas Text description provided by the architects. It is a strong concrete wall the element that unfolds the whole project. The wall, that is quite high in some areas and semi-buried in other areas is a protection mechanism: on the one hand, it protects the house from negative orientations –north and west- and on the other hand, it also protects the house from the views and perspectives from the surrounding plots. And, finally, it is as well a mechanism of containment of land, since it allows the house to generate flat spaces and adapt itself to the strong unevenness of the land.  Ground Floor Plan  © Josema Cutillas  Sketch 4 The wall, then, makes a clear “L”-shaped gesture whose consequence is very clear: the house thus opens fully towards a horizontal and very private garden, facing south and east. The façade that looks to that garden is soft and warm. It is made up of vertical pieces of Iroko wood and large glass hollows –the bedrooms are placed in the long body and the living room is placed in the short body. In contrast, the north and west facades are rougher, they are the realm of the wall, the back of the “L”; they are dominated by the concrete and zinc panels. Only some colored holes allow the entrance of light at very specific points.  © Pablo García Esparza A second “L” gesture, drawn by a smaller wall, creates a lower body, where the lobby, the service area, and the garage are housed. This body is also a defensive element: its frontal façade, which is very abstract and shaped by the Iroko wood, prevents any view of the interior, and its rear façade, generated by the aforementioned wall, acts as a front for the garden. It protects it from the access street and makes all the views from inside go towards the distant landscape.  © Josema Cutillas In terms of construction, the house is understood as a game of planes, it does not seek to be a language of boxes or volumes. Thus, the aforementioned concrete walls are the boundary planes towards the ground; the wooden surfaces are the planes that generate the enclosure towards the garden and, finally, a huge zinc cover is an oblique plane that flies, levitating on the wall. In fact, its structure is suspended from the wall by metal pillars, as it is also supported in the plane of the façade of the garden.  © Josema Cutillas It is a discrete, introverted house, and its main space, the central garden, is calm and soft, it is a natural environment that escapes any sensation of exposure. It is impossible to perceive, once one is located in the center of such space, that the house is placed in a residential area made of very narrow and exposed plots. The materials are natural. It could be said that they are sincere since they are not painted or covered: concrete with the texture of sawn wood boards, zinc (natural zinc, not pre-patinated) and the beautiful iroko wood treated with oil.  © Pablo García Esparza  Longitudinal Section Living Room  © Pablo García Esparza Inside, on the other hand, the material discourse is almost the opposite. The crudity of the natural materials that govern the exterior gives way to the smooth and white surfaces of the partitions and the underside of the roof. There are, however, some memories of the material “sincerity” which characterizes the exterior: for example, the floors of the bedrooms and certain vertical walls are clad in natural Danish pine wood; or also the pillars, although they are painted in white are always exposed from the inside. In short, the interior space is a more abstract environment, dominated by the sloping forms of the ceilings and certain partitions, and by the smooth light that slips through them.  Axonometry 3  Sketch 3 The living room is probably the highlight of the project. It is the end of the “L”, the largest interior space and the area where the interior and the exterior merge. A large glass slide door and the porch created by the zinc roof, allow the living of this spaces as a continuity of the garden itself. Thus, behind it is the kitchen and the soft wood of Danish pine, and on its front, framed by the low porch (exactly 236cm high) and the sloping ceiling, is the garden and the views of the mountains of the Pamplona area. Isolation, privacy, and naturalness of certain materials treated with great care are, in short, the ingredients of this residential project.  © Josema Cutillas  This posting includes an audio/video/photo media file: Download Now |
| Sportcampus Zuiderpark / FaulknerBrowns Architects Posted: 28 Mar 2018 07:00 PM PDT  © Scagliola Brakkee
 © Scagliola Brakkee Text description provided by the architects. Located at the heart of the historic Zuiderpark, the €50m sports campus is an innovative collaboration of alliances between education, sport, sport science and the community, for both the municipality of The Hague and its private partners: the Haagse Hogeschool and ROC Mondriaan.  Site Plan The overriding aim is to emphasize the importance of sport and exercise through learning and engagement, for the amateur as well as the elite athlete, using sport as the inspiration to deliver a healthier society. The 33,000m² sports campus includes a gymnastics hall, beach sports hall, spectator arena and a multi-purpose sports hall, as well as a variety of sports science and education spaces.  © Scagliola Brakkee Our design solution is an interpretation of the brief to embody within the campus the principles of 'motion and activity'. This is expressed externally in the fluid movement of the elevational treatment. At ground level, the curved form of the plan is expressed by a simple plinth constructed from textured precast concrete panels. The upper part of the elevation is expressed as a metallic 'ribbon' that narrows and twists to reveal glazing on the elevation. Constructed from brightly polished stainless steel, the dynamic ribbon changes colour with different lighting conditions and cloud patterns, as well as reflecting the animation of its natural setting.  © Hufton+Crow As the Zuiderpark is listed as a 'national monument', the building has been designed to preserve the unique character of its surroundings. The curved nature of the building creates the perception that the building's edges are retreating into the distance, minimising its visual scale. The largest interior volumes—primarily the areas for sport— have been situated to the rear of the building allowing for the height to be reduced significantly at the front, where the majority of the education spaces are located. The high sided rear elevation has been positioned to respond directly to the urban city context, whilst the front elevation responds at a human scale to the public parkland. Here, an animated entrance courtyard acts as an extension to the park, creating a physical link between the campus and the main approach routes.  © Scagliola Brakkee One of the distinctive facilities on offer at the sports campus is the beach sports hall, holding enough space for six beach volleyball courts or two beach soccer pitches. A specially configured water misting system maintains the sand at the ideal moisture level to prevent the propulsion of dust particles into the indoor environment. The elite standard facility is the permanent training location for the Netherlands Beach Volleyball Team, one of many sports teams that are based at the campus.  © Arjen Schmitz Sportcampus Zuiderpark is much more than a centre of excellence for sport and movement. The integration of accessible spaces for education and recreational sport has created an environment which celebrates and promotes the value of sport for the health and wellbeing of all. Capable of hosting international standard sporting events, the sports campus provides the inspiration to motivate people of all generations to participate in new activities in the footsteps of the athletes before them.  This posting includes an audio/video/photo media file: Download Now |
| Louvers House / MIA Design Studio Posted: 28 Mar 2018 05:00 PM PDT  © Hiroyuki Oki
 © Hiroyuki Oki Text description provided by the architects. From MIA Design Studio's perspective, Louvers house is not only a living shelter but also reflects our client's living style. Our client wanted to make a great combination of spaces to keep traditional communication between generations of a traditional Vietnamese family. That is how we simply started designing a house with a big void in the middle as a bridge to connect all the spirits of the house. This void with water scape and skylight creates a natural connection between bedrooms, living room, Spa, Gym and even the parking area. This principle has an ingenious use of natural ventilation to keep the building cool and give the family refreshing experience. With local plants and overflow water, the void inside this house becomes a healing environment as the living soul of the house.  Diagram This house faces the sun rise with the fact that daylight would be soft and straight in the early morning but would be so harsh and aggressive in the middle of the day. To solve this problem, we have created the big canopy to reduce the heat from harsh sunlight at the high angle and the vertical louvers to let the early sunlight get inside the house and freshen the morning breeze with shadows and morning sunlight. Pattern of shadows is one of the natural advantages that we want to imply into the design to accept the rule of nature and play with it.  © Hiroyuki Oki
 © Hiroyuki Oki Moreover, taking advantage of the park in front of this property and surrounding landscape, we raised the living floor to create better accessibility to the parking area and explode the boundary to the landscape with private view from upper level. With this raised level, we designed a transition stair way to access the upper level with landscape and water flow for friendly welcome ambience and stress relieving from daily life. Designing a house with private but open view has created a comfortable living area where the family can enjoy a luxurious wellness in privacy.  © Hiroyuki Oki Our design does not only reflect the culture of a modern Vietnamese family but also adapt the tropical weather to protect the subject from the disadvantages of the climatic weather. Our philosophy is not only creating forms and spaces but also connecting human living style with nature.  © Hiroyuki Oki  This posting includes an audio/video/photo media file: Download Now |
| MK-S Nursery / HIBINOSEKKEI + Youji no Shiro Posted: 28 Mar 2018 03:00 PM PDT  © Kenjiro Yoshimi
 © Kenjiro Yoshimi Text description provided by the architects. These are a classroom for preschool children and an after-school childcare center in a kindergarten in Yokohama. This is a renovation project of two sections of dilapidated dwelling with shop, which is 40 years old and a two-storied building, to change them into 4 classrooms. The key concept is "SATELLITE", concomitant with the main facility kindergarten located across from the site and with the hope that this building will become the place like children's base.  © Kenjiro Yoshimi The existing exterior is kept, and we put some skins with dot pattern according to the design image of galaxy. Giving depth with light and shadow, we tried to update the image of former old building.  © Kenjiro Yoshimi  East Elevation  © Kenjiro Yoshimi By setting distinctive windows, passers-by can see inside. It makes chances that people get to know the curriculum of this program. It gives brightness to the inside and close relationship to the outside.  © Kenjiro Yoshimi  Second Floor Plan  © Kenjiro Yoshimi Regarding the interior, plyboards which looks rough in spite of natural materials are used. Like a base, everything is kept compact for realizing the unity among the building of interior and exterior.  © Kenjiro Yoshimi  This posting includes an audio/video/photo media file: Download Now |
| ƯU ĐÀM Vegetarian Restaurant / Le House Posted: 28 Mar 2018 01:00 PM PDT  Courtesy of Le House
 Courtesy of Le House Text description provided by the architects. Located in the heart of a crowded Hanoi Street, Ưu Đàm Vegetarian quietly blossoms as a verdant and peaceful oasis welcoming thirsty pedestrians on the desert. Walking through the terrace, passing the Multi-face Buddha relief sculpture, visitors merge themselves into Ưu Đàm's space to cast off all their burdens outside the gate.  Facade  Courtesy of Le House The three-storey space of the restaurant represents to three Buddhist periods: the Past- the Present and the Future. Each storey will be an interesting discovery for visitor who himself will experience what are trying to be sent by the sincere heart through each interior design corner, each manually selected table napkin, chopsticks, bowl and each vegetables of the restaurant. In the current noisy and busy life, it's hard to be not engulfed in such peaceful space to be back to human's religious meditation ego.  Courtesy of Le House Ưu Đàm is the Vietnamese transcription of "Udumbara" in Sanskrit, which means "an auspicious flower from heaven". According to Buddhist scriptures, Udumbara are extremely rare, they bloom only once every three millennium when a holy Buddha appears in the human world. After thousands of years absorbing essence of earth and heaven, Udumbara blossoms quietly, a pure and precious signal of a prosperous new era.  Courtesy of Le House Inspired by that story, Ưu Đàm Vegetarian was built with a desire to spread this positive spirit. Ưu Đàm Vegetarian offers a cozy and quiet vibe, with exquisite, nutritious and healthy cuisine in a peaceful and relaxing environment for all our precious diners, their families and friends. We hope that Ưu Đàm Vegan helps our valuable customers lead a healthy life and find their inner peace.  Courtesy of Le House Each and every dish and drink is the essence of Mother Nature, prepared from the heart by dedicated and highly skilled chefs. All diners are valued and cherished as an Udumbara in the Buddhist heart.  This posting includes an audio/video/photo media file: Download Now |
| House of Ginseng / SML + THE CORNERZ Posted: 28 Mar 2018 12:00 PM PDT .jpg?1522066111 "© Kyung Sub Shin") © Kyung Sub Shin
.jpg?1522065641 "© Kyung Sub Shin") © Kyung Sub Shin Text description provided by the architects. On the Korean Peninsula, evaluated as a suzerain of ginseng, which produces the best quality ginseng in the world, having the blessed natural environment, especially, recognized as the one with the best quality, Korean Ginseng from Punggi is a perennial plant, cultivated under an artificial shade, called Sampoeojang in Koreafor 3-6 years. Ginseng, which has a slower rate of growth and more difficult cultivation conditions than other crops, grows under Sampoeojang. Like this, Sampoeojang, which keeps ginseng growing well for a long time is a 'ground for cultivation' and can be said to be a 'house of ginseng' where ginseng grows. A ginseng field covered with layers of long Sampoeojang along the shape of the cultivated field forms a unique and distinctive scenery with a landscape with choppy black waves. .jpg?1522066270 "© Kyung Sub Shin") © Kyung Sub Shin Sampoeojangis in a lightweight furniture-type structure, in which cloth covers thin vertical and horizontal timber members, made in the minimum size required for the worker's pass and operation. The key feature of Sampoeojangis the roof made of cloth. The roof tilted to the altitude of the sun properly shuts off the direct sunlight and smooths ventilation and drainage. Like this, Sampoeojangis a functional minimal house (module), which is the key to the cultivation of ginseng.  Floor Plan We have planned an exhibition/promotion shop that reinterpreted 'Sampoeojang' symbolizing 'the space of ginseng' from a new and modern sense. As a passive branding strategy, we focused on the formation of a spatial image through which the excellence of the Korean Ginseng of Punggi would be delivered to customers, giving a differentiated image to the currently lesser-known brand. .jpg?1522066577 "© Kyung Sub Shin") © Kyung Sub Shin When you enter the promotion hall lobby, a logo to symbolize Punggi Ginseng, precisely polished, emits light, while the pure-white wall on the background flows into the indoor space. The two sides of the curve type indoor space correspond to different languages centering around the middle passage and continue from the entrance to the opposite end.  Diagram The right area of the passage to which the lobby's white wall surface extends was designed as a pure-white refined space to deliver the brand image effectively. Along the continuous curved wall, the unique history and value of the brand are introduced, and this flow continues to the surface of the wall where there are objects of the representative products. This has an effect in which a completed exhibition is composed of the brand. .jpg?1522066166 "© Kyung Sub Shin") © Kyung Sub Shin The left sale area of the passage can be said to be a space that visually and semantically reinterpreted ginseng produced in the bosom of nature. With Sampoeojang, the 'house of ginseng' as the basic module, a sale rack, floor and exhibition rack in which ginseng grows on the earth were integrated with the same materials. The module successively placed excites the public, becoming a spatial image in which the Korean Ginseng of Punggi, earth and sincere cultivation process are reflected. In the two areas designed with a pure-white exhibition space and timber as the main finishes, materials were naturally displaced to become one completed promotion hall by gradation, so that the visiting customers could embody the brand's inherent value and further, lead to the process of consumption, naturally. .jpg?1522065317 "© Kyung Sub Shin") © Kyung Sub Shin  This posting includes an audio/video/photo media file: Download Now |
| European Commission Launches Loi 130 Architectural Competition Posted: 28 Mar 2018 11:00 AM PDT  Picture of the Loi 130 site; copy right European Commission The European Commission is launching an international architectural competition to identify the best design proposals for its most important current real estate project in Brussels (Belgium) – the redevelopment of its premises at rue de la Loi 130 (hence the competition name, Loi 130). The competition invites teams composed of architects, landscape architects, building services engineers and structural engineers from around the world to come forward with forward-looking, innovative, sustainable and cost-efficient proposals for the project. With a total gross floor area of between 175,000 and 190,000 m², the new inner city complex will include offices for at least 5,250 people, 2 childcare centres, a visitor centre that can welcome 345,000 people a year, 3,000 square meters of restaurants and shops and public spaces with green areas. The project will also include a new entrance to Maelbeek metro station, and the whole complex will have the highest possible level of security.
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| Greenacres House / Austin Maynard Architects Posted: 28 Mar 2018 10:00 AM PDT  © Tess Kelly
 © Tess Kelly Text description provided by the architects. Greenacres is located only metres from the ocean cliffs in Merewether, Newcastle, NSW. In their brief, the owners, Basil and Jo, asked for a family home that they could grow old in, with a lift, lots of light, sleek, clean lines and, they tentatively requested: "a window with a view if possible." Austin Maynard Architects designed them a home which captures the views from almost every space within and around the house.  © Tess Kelly Greenacres responds to both site and location. Unable to save the original dilapidated house, a new home was constructed on the steep block, a topography that set new and exciting challenges. The varying heights created the opportunity for multiple platforms to view the expansive outlook over the ocean, the Merewether Ocean Baths, and the city of Newcastle.  © Tess Kelly  Ground floor plan  © Tess Kelly Stepping down a steep gradient at three levels the house works with the landscape as it terraces down the hill towards the street. The garage is buried at the base of the property, with the entry path and garden weaving beside, up and over the top, through the green roof. The design of the driveway is landscaped to reduce the impact of a large expanse of hard surface in front of the house. A simple, white rectangular form, propped on three giant steel 'paperclips', houses the kitchen/ living and dining area, with two bedrooms and a bathroom beneath. At the back of the block is the parent's bedroom, with a walk-in-robe, ensuite and a study - quiet and private. In the garage a lift provides direct access to all three floors, concealed within the kitchen cabinetry at the third floor level.  © Ayden Sheperd  Diagram 03  © Tess Kelly Inspired by the macrobinoculars in Star Wars: The Empire Strikes Back, the white suspended living zone was designed to bring the views into focus, like a lens, framing the vista. Capping the end is a light and transparent balcony, with all five sides - the fibreglass floor and linear arrangement of the battened ceiling, balustrade and sides - drawing the eye out.  © Tess Kelly  Diagram 04  © Tess Kelly Build a house in front of an ocean and everything becomes about the view. At Greenacres the deliberate transparency ensures the house never gets in the way of its own view. Whilst sitting in the back garden, working in the study, or showering in the very last room on the block, the great expanse of city and ocean is unimpeded.  Section The futuristic sci-fi associations extend further, as the white living zone appears to be a different form entirely, hovering or docked to an industrial brick base. The contrast is stark. The recycled bricks, a colourful mixed palette bearing approximately 20% graffiti, provide colour, character and a sense of past. Earthy, textured, heavy and robust. Resting on this brick plinth, is the extruded form, a clean, white steel and panellised, machine-made box.  © Tess Kelly  This posting includes an audio/video/photo media file: Download Now |
| Posted: 28 Mar 2018 08:00 AM PDT  © Carmen Troesser
 © Carmen Troesser Text description provided by the architects. Acting as architect, developer, and general contractor, Logan Certified represents the first real estate development project for moss. In an era of tear-downs and gentrification, we repurpose the urban fabric to accommodate new uses, support local business and provide incubator space for artists. Formerly a 6,000 square foot abandoned corner bodega, the property has been redeveloped into four distinct units organized around a central courtyard. It is now home to a furniture and art gallery, one apartment, a showroom, and our newly expanded architecture and design studio. Spanning two city lots (50' x 125'), the building footprint runs from the street to the alley. Being constrained by the configuration and a desire to create outdoor space, we created a courtyard by carving out a portion of the building. The studio and the showroom share the courtyard and the large windows bring in plenty of natural light and warmth during the winter.  © Carmen Troesser  Ground Floor Plan  © Carmen Troesser To reinforce the nature-in-the-city feel, we installed cedar siding and a custom wood burning pizza oven which is perfect for entertaining. The base of the oven is constructed from bricks that were salvaged during demolition. The removal of the roof, necessary to create the courtyard, served a dual purpose. Due to the FAR (Floor Area Ratio) limits of the site, the square footage that was removed, allowed space for a loft apartment to be constructed, creating a second-floor addition just above the leased commercial space. This is the only added structure to the original building. We wanted to create a unique rental dwelling space, differentiating from the typical condo and 3 flat apartment layout so prevalent in Chicago. The one bedroom with loft apartment entry is located on the street side with a private entry stair that leads up to the unit.  © Carmen Troesser The kitchen and living room is open and airy and bordered by a window wall leading to a private deck (also clad in cedar), which allows for access to natural light. Custom, modern cabinets optimize kitchen space, and a custom ladder leads to the loft that overlooks the open living space. The entire loft has reclaimed wood floors that are a mix of oak, walnut, and other hardwoods that have been restored and repurposed from local Illinois barns to provide sustainable and durable flooring. The sloped roof on the loft addition is not only a design strategy, but it also serves as the foundation for the solar panels. The South slope of the roof was determined by the optimum solar angel around the solstice, when the sun is strongest, giving Logan Certified its shape and silhouette. Like everything we design, aesthetics and functionality coalesce in an intentional, efficient and striking way.
 © Carmen Troesser We preserved as much of the existing building shell as possible while adding modern materials and energy-efficient elements. The exterior of the building is a mixture of old and new. The front portion was constructed in 1910 and was clad in metal panels that had accumulated layers of paint and rust and were not salvageable. We removed the panels and painted the exposed cinder blocks black. The loft addition is clad in black aluminum composite panels while the rear portion of the building, built in 1950, retains it's original Chicago common brick. To update the building envelope for maximum efficiency, we installed a radiant heat system beneath the newly poured concrete floors, replaced windows throughout the entire building, and replaced the old insulation with spray foam.  © Carmen Troesser  Longitudinal Section  © Carmen Troesser  This posting includes an audio/video/photo media file: Download Now |
| Foster + Partners Reveal "Sanctuary" Chapel for Vatican Pavilion at Venice Biennale Posted: 28 Mar 2018 07:00 AM PDT  Courtesy of Foster + Partners Foster + Partners has released details of their proposed chapel to form part of the Vatican's inaugural entry to the Venice Biennale. The Holy See Pavilion will comprise ten chapels designed by ten architects, to be situated on the Venetian Island of San Giorgio Maggiore. Among the architects contributing to the circuit of chapels are Foster + Partners, Eduardo Souto de Mourao, and Francesco Cellini.  Courtesy of Foster + Partners Designed in collaboration with Tecno, Foster + Partners' chapel began as three symbolic crosses and a timber deck, draped with a tent-like membrane. Throughout the design process, the scheme evolved into a tensegrity structure of cables and masts, clad with wooden latticework. The architects' vision was for a diffuse, shaded place of quiet contemplation, framing views of the adjacent lagoon.  Chapel Plan. Image Courtesy of Foster + Partners  Chapel Section. Image Courtesy of Foster + Partners
 Courtesy of Norman Foster  Courtesy of Norman Foster The opening ceremony will be held on 25th May, with the pavilion open to the public until 25th November. News via: Foster + Partners
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| Retrofit in the Castelo Branco Building / Andrade Morettin + GOAA Posted: 28 Mar 2018 06:00 AM PDT  © Pedro Vannucchi
 © Pedro Vannucchi Text description provided by the architects. Of remarkable presence in the landscape of the Concordia, the Castelo Branco building was underutilized, its facade of monumental dimensions and animated by its brise-soleil did not reflect the abandonment of its interior. If on the one hand, the intense movement of Rangel Pestana Avenue makes it difficult to lease the large office floorplans, on the other hand, it produces such appreciation of the commercial space on the ground floor that makes impossible any intervention that would consider closing it.
The project seeks to reconcile two demands: to create a comfortable and attractive access for the office floors tenants and to maintain direct access to the retail space on the ground floor. The result is a design made with materials that are recognizable in the landscape of the region, enabling quick and clean construction and creating a clear access space. By taking advantage of an old disused ramp, the new entrance seeks to be direct and generous seeking to capture the attention of the pedestrian to the interior of the building.  © Pedro Vannucchi  Section  © Pedro Vannucchi In the office spaces, minimal interventions sought to recover the existing finishes within the sets. The granite flooring in the circulation was maintained and the frames and bricks recovered to facilitate its use. In the rooftop, we proposed the installation of a pavilion made with a pre-fabricated wooden structure that would house a space for events and a restaurant. This equipment allows a public access to the panoramic view and creates a space of contemplation at the top of the metropolis of São Paulo.  © Pedro Vannucchi  This posting includes an audio/video/photo media file: Download Now |
| Mexican Water-Managing Public Space Triumphs in Global LafargeHolcim Awards 2018 Posted: 28 Mar 2018 05:30 AM PDT  Winning schemes were situated in Mexico, Niger, and the USA. Image Courtesy of Global LafargeHolcim Awards Results have been announced for the 5th Global LafargeHolcim Awards for Sustainable Construction, with three women-led teams awarded the gold, silver, and bronze positions. The design competition asked participants to speculate on future methods of balancing environmental performance, social responsibility and economic growth, "exemplifying architectural excellence and a high degree of transferability." The competition attracted over 5,000 submissions from 131 countries. Having been regionally assessed by juries in Europe, North America, Latin America, the Middle East/Africa and Asia Pacific, 55 successful proposals were entered for the global awards, where six winning schemes were selected. Commenting on the winners, Jury head Alejandro Aravena praised the "masterful pieces that demonstrate what sustainable design and construction can achieve…although not something considered during the evaluation process, the jury was delighted by the strong representation and success of women in the LafargeHolcim Awards." The Gold, Silver, Bronze awards and three acknowledgment schemes are set out below. Gold Award WinnerHydropuncture: Loreta Castro Reguera, Manuel Perló Cohen  Gold Medal: Hydropuncture in Mexico. Image Courtesy of Global LafargeHolcim Awards The Gold Award was won by "Hydropuncture," a publically accessible water retention and treatment complex in Mexico. The scheme is situated in an underprivileged area of Mexico City, merging flood basins and public amenities in spaces informed by the logic of flowing water. The jury was impressed by the scheme's "sophisticated address of an urgent issue at a scale with real impact." Silver Award WinnerLegacy Restored: Mariam Kamara, Yasaman Esmaili  Silver Medal: Legacy Restored in Niger. Image Courtesy of Global LafargeHolcim Awards The Silver Award was claimed by "Legacy Restored," a religious and secular complex in Niger, reinterpreting vernacular construction for a mosque and community center. The scheme creates civic space to support the education of women, and champions local artisanship with traditional building techniques and materials produced in the immediate surroundings. The jury was impressed by the scheme's use of architecture "to give dignity to fragile rural communities losing population to urban migration." Bronze Award WinnerGrassroots Microgrid: Constance C. Bodurow  Bronze Medal: Grassroots Microgrid in Michigan. Image Courtesy of Global LafargeHolcim Awards The Bronze Award was won by "Grassroots Microgrid," a community-driven neighborhood planning scheme which re-purposes derelict land in Detroit, USA as spaces for collective infrastructure, including food, energy, and civic engagement. The scheme enables neighborhoods to push towards energy autonomy through micro-infrastructure at a local level, with the jury commending the scheme's "community-driven initiative." Acknowledgment and Next Generation Prize WinnerRefrigerating Jar: Wonjoon Han, Gahee Van, Sookhee Yuk  Refrigerating Jar: Acknowledgment and Next Generation Prize Winner. Image Courtesy of Global LafargeHolcim Awards Based in Karaga District, Ghana, "Refrigerating Jar" manifests as a series of towers for butter storage, designed for passive cooling in a traditional architectural language. By storing and processing nuts, the scheme enables the local community to sell shea butter as a skin moisturizer at a time of maximum financial return. Acknowledgment and Next Generation Prize WinnerCooling Roof: Georgina Baronian  Cooling Roof: Acknowledgment and Next Generation Prize Winner. Image Courtesy of Global LafargeHolcim Awards Based in Cherry Valley, California, "Cooling Roof" represents a prototype for cooling large-scale structures using roof water as a thermal insulator and solar reflector. Acknowledgment and Next Generation Prize WinnerTerritorial Figure: Stefano Romagnoli, Juan Cruz Serafini, Tomás Pont Apóstolo  Territorial Figure: Acknowledgment and Next Generation Prize Winner. Image Courtesy of Global LafargeHolcim Awards Based in Punta Loyola, Argentina, "Territorial Figure" is an infrastructural landscape project for the production of electricity based on tidal flow in the Río Gallegos estuary. The scheme aims to address the potential ramifications of human-induced climate change on the natural environment. The 6th competition will be open for entries in mid-2019. News via: LafargeHolcum Foundation
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| Posted: 28 Mar 2018 04:00 AM PDT  © Sebastián Crespo
 © Sebastián Crespo Text description provided by the architects. To design a house for someone is to build a portrait: the portrait of one or more human beings in their relationship with others and their surroundings. Casa Ortega was designed for a devout son. The commission was clear: a home with two pavilions, one for Raúl and his latent family, another one for his parents. Two houses in one: independent and interdependent. Two open links that string together in a horizontal 8, symbol of the infinite, of eternal return. One way to unravel bonds without piercing them is to offer each lace a space for autonomy. The social spaces of the house (kitchen, dining room and main living room) are the place for sharing and bonding. The private spaces (bedrooms, independent living rooms and bathrooms) provide the place for intimacy. The house design resulted, therefore, from the assembly of two pieces of equal size but different scale: a C which would scoop a garden for Raúl and his family, and an inverted C which would scoop another garden for his parents.  © Sebastián Crespo  Lower floor plan  © Sebastián Crespo The first one would funnel the afternoon sun and would be oriented towards the cordillera that provides the skyline in the horizon; the second one would receive the morning sun and would fold towards the interior. The double nature of the house decanted in a larger footprint for the private area, located in the upper floor. The difference between ground and upper floor was mediated by two inclined planes which provided the perfect opportunity to lodge an escalated library for Raúl, and a cascading inner garden for his mother.  © Sebastián Crespo  Sections  © Sebastián Crespo Which would be the adequate materials, the textures for this portrait? Raul manages, with his father, two factories: one specializes in the manufacture of wood components, the other in the extrusion of plastic containers for hospital use. A visit to them was memorable. The wood factory is a well-light and large warehouse built by Raúl. The plastics factory: a chemical laboratory. Casa Ortega had to incorporate an industrial character into its expression. A steel structure and an assembly logic were chosen with this purpose in mind. Raul, though, did not want to live in a factory. He grew up in Sangolquí, not long ago an agricultural valley dotted with brick ovens.  © Sebastián Crespo  Elevations  © Sebastián Crespo Black bubbles protruding from the baked bricks had provided the calligraphy that characterized walls in the region. His house had to be a hybrid of factory and rustic rural house made of steel, brick, glass, grass and trees (yet to grow). It was imperative to integrate the new house into its context and the future into Raúl´s present.  © Sebastián Crespo  This posting includes an audio/video/photo media file: Download Now |
| Architecture's Evolving Role: How Community-Engaged Design Can Encourage Social Change Posted: 28 Mar 2018 02:30 AM PDT  Gheskio Cholera Treatment Center, in Port-au- Prince, Haiti, designed by MASS Design Group – a project featured in Garrett Nelli's upcoming exhibit, In the Public Interest: Redefining the Architect's Role and Responsibility, at the Center for Architecture & Design. Image © Garrett Nelli The role of the architect—and even architecture itself—in society today is changing. A lack of interest in critical social issues from a profession that holds such high responsibility within a community is a problem that should no longer be avoided. In an exhibit currently on show at the Center for Architecture and Design in Seattle titled "In the Public Interest," Garrett Nelli Assoc. AIA challenges the profession of architecture to establish a focus on more community-engaged design. With the help of the 2017 AIA Seattle Emerging Professionals Travel Scholarship, Nelli traveled to Los Angeles, rural Alabama, Haiti, Italy and New Orleans, all the while analyzing how the built environment has the ability to influence social change. Read on for an edited interview with Nelli about his research and how you can begin to implement elements into your design practice to help promote social change in your own communities.  In the Public Interest, presented by AIA Seattle at the Center for Architecture & Design. Image © Trevor Dykstra Collin Abdallah: Were there any specific problems in your own community that you recognized and that lead you to this type of research? Garrett Nelli: Every community has their overarching issues that we can look to specific architectural examples for insight and guidance. Seattle is no different. In the city, there is a growing homeless population and a lack of access to essential social services. The city is growing at such an unprecedented rate that many locals feel their neighborhoods are transforming uncontrollably before their eyes. There is, most of all, a need to arm these neighborhoods, grassroots organizations, and underrepresented individuals with the tools that will allow them to more effectively impact how the city is changing so that it can reflect the whole. Widespread across the country and the world there is an urgent need for greater dialogue between diverse professions, groups, and ideologies. A community-engaged design process is a small part of how we, as a profession, can do a better job of ensuring that we are working for an open platform of communication that promotes inclusivity of ideas and people. This research aims to provide the Seattle communities new tools to design for our public, as well as a platform to discuss the role the built environment plays in our lives.  In the Public Interest, presented by AIA Seattle at the Center for Architecture & Design. Image © Trevor Dykstra CA: Why do you think architecture and architects specifically are responsible for the shift in focus to more engaged communities? GN: The architect must be the change that we want to see, just as much as the architecture. Architects hold a unique position in society due to our licensure, and in the diverse roles we play throughout the built process. We find ourselves acting as moderator, activist, public speaker, and conductor of many parties. Our exposure to the public and diverse skill set prepare us to be best equipped to be the key player in implementing this shift in design thinking. From a licensure standpoint, architects have a commitment to the health, safety, and welfare of the public. It could be argued that safety has been addressed through building code and ADA guidelines. A recent rise in environmental thinking and wellness standards can be associated with the public's health. There is yet to be a strong movement that addresses the public's welfare in design. Why hasn't the profession focused on issues of equity, disparity, and dignity? Why has the profession been so quiet on the critical social issues of our time? As those who hold a unique and influential role in society, it is time for the profession to rethink and redefine how we will address the third element of our professional ethos. Too long has the profession been too silent.  In the Public Interest, presented by AIA Seattle at the Center for Architecture & Design. Image © Trevor Dykstra CA: What types of issues would you specifically like to see addressed by the implementation of your research? GN: First and foremost, I would like to see the profession alter how we practice—specifically how we structure our businesses so that our services are more accessible and longer lasting. In order to have a greater civic reach, we cannot solely operate in the traditional realm of pre-design through construction administration. Incorporating grant writing, fundraising, policy writing, advocacy, land development, and building maintenance (to name a few) will drastically alter the longevity of our services. Our current model of practice is too narrow-minded, severely limiting our potential impact and reach. We must also expand the roles that we encompass to reach a broader clientele. A select percentage of the population has the needed capital to take advantage of the architect in its current role, as the master builder. Our critical thinking and ability to read situations and translate them into solutions is the true intrinsic value we can provide society. If we can make entry to architectural services more approachable, we will fill a critical position in society and make the profession far more resilient. Last, I hope that more designers work to record the impacts of their interventions. We need to be better bookkeepers of the quantitative and qualitative implications of architectural services. We should let the numbers be our most influential advocates, rather than having to defend ourselves in the face of capitalistic desires. If we can effectively implement these changes, the architect will gain a more prominent seat at the table making large-scale decisions about our communities and play a more pivotal role in addressing the overarching social, economic and environmental challenges of our time.  In the Public Interest, presented by AIA Seattle at the Center for Architecture & Design. Image © Trevor Dykstra CA: How does the view of community-engaged design in the rest of the world differ from the United States? Where are we lacking or doing better than others? GN: In my conversations, the world outside of the US puts a significant focus on funding public projects through government initiatives, rather than privatized development. There is a much larger sector of works, especially in Europe, that are addressing the public realm through government-sponsored design competitions. This leads to, generally speaking, richer urban environments with thoughtful areas of intervention. In the States, much of the works that are defining the way the public engages with our cities are led by developers who have not always been so keen to elongate the design process to include a greater pool of stakeholders. This is when it becomes important for designers and the public to fight for their voices. Many of the projects I visited began as grassroots movements with little to no funding, but what started as a small movement eventually turned into an unstoppable force. CA: Finally, could you give a little insight into some of the specific projects chosen for the exhibition? Can you explain what they are and why you think they are exemplars of community-engaged design?  Inner City Arts, an arts education program for at-risk youth, designed by Michael Maltzan Architects - a project featured in Garrett Nelli's upcoming exhibit, In the Public Interest: Redefining the Architect's Role and Responsibility, at the Center for Architecture & Design. Image © Garrett Nelli Inner-City Arts GN: Located on the edge of Skid Row in downtown LA, Inner-City Arts provides arts education for over 5,000 at-risk youth from LA public schools each year. In its 28-year history, ICA has provided exposure to the arts for over 200,000 youth in LA. The building's clean white walls act as a blank canvas where the students can explore and test ideas. Initially, the clients were hesitant to construct a building so bright in a neighborhood consisting primarily of the homeless and where vandalization is common. Since its inauguration, graffiti has been a non-issue due to the sense of ownership the community feels towards the building and the civic presence Inner-City Arts has brought to Skid Row. This example highlights the importance of architects having a civic responsibility to work with grassroots organizations for the good of the collective.  Gheskio Cholera Treatment Center, in Port-au- Prince, Haiti, designed by MASS Design Group – a project featured in Garrett Nelli's upcoming exhibit, In the Public Interest: Redefining the Architect's Role and Responsibility, at the Center for Architecture & Design. Image © Garrett Nelli GHESKIO Cholera Treatment Center GN: In partnership with leading Haitian health care provider Les Centres GHESKIO, MASS designed and built a state-of-the-art permanent cholera treatment center in the wake of the 2010 catastrophic earthquake. MASS was able to utilize local craft and expertise, enlisting the help of over 360 locals during construction. Also, 97 percent of the construction cost went to Haitian business. MASS has also developed a team to record the impact of their built interventions. They were able to calculate the construction of the CTC building cost as the equivalent of maintaining and replacing tents over a three year period. Prior to the permanent MASS-designed facility, GHESKIO had been relying on temporary tents and portable toilets. Their findings and research point to new methods that the profession can advocate for the public and the positive impact of these civic project through big data.  St. Joseph Rebuild Center, a social service and recovery center in New Orleans, Louisiana, designed by Studio WTA - a project featured in Garrett Nelli's upcoming exhibit, In the Public Interest: Redefining the Architect's Role and Responsibility, at the Center for Architecture & Design. Image © Garrett Nelli St. Joseph Rebuild Center GN: Built in the wake of Hurricane Katrina, this day center provides the homeless access to free meals, showers, laundry facilities, mental and physical health services and social services. The center is defined by six portables connected by wooden walkways and trellis that transform the parking lot behind the St. Joseph Catholic Church into a lush oasis and area of respite for the homeless population of New Orleans. This center is a fantastic example of temporary disaster relief that offers a new solution for how our cities can better address the needs of the homeless.  20K Homes by Auburn University's Rural Studio program, NewBern, Alabama - a project featured in Garrett Nelli's upcoming exhibit, In the Public Interest: Redefining the Architect's Role and Responsibility, at the Center for Architecture & Design. Image © Garrett Nelli 20K Homes Product Line GN: The 20K Home product line's intended goal is to create an alternative to the ubiquitous American trailer home especially prominent across the rural southeastern landscape. This model of housing addresses the systemic issues with the procurement of housing in the states. While in its project-testing phase at Rural Studio, the houses are built pro bono for deserving clients, but in its product form, the exchange of capital for services is essential. Clients will acquire the loan, hire a local contractor who in turn will employ local laborers. Materials, tools, and supplies will be purchased at local hardware stores supporting local businesses. After the house is completed, home values in the area will rise. Through its focus on local material and labor, the project promotes investment in local economies while helping a population in desperate need of an alternative housing option.  In the Public Interest, presented by AIA Seattle at the Center for Architecture & Design. Image © Trevor Dykstra "In the Public Interest" will be open March 1 – May 26, 2018, at the Center for Architecture and Design in Seattle.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 28 Mar 2018 02:00 AM PDT  © Pedro Napolitano Prata
.jpg?1522165928 "© Pedro Napolitano Prata") © Pedro Napolitano Prata Text description provided by the architects. With a teaching proposal where the classroom is a point of support for the student and not its container, Wish School builds its pedagogy through an overall view of the individual. Physical, emotional, social, cultural, corporeal, creative, intuitive, and spiritual aspects are as important as the rational intellect. Beyond the content of the disciplines, understanding the child's wishes and abilities are used to reframe and firm the child learning.
 Lower Floor Plan .jpg?1522166075 "© Pedro Napolitano Prata") © Pedro Napolitano Prata  Upper Floor Plan The project process was developed together with the users, in the search for solutions to make the new building reflect the school's philosophy.In order to understand the complexity of interactions involved in this teaching approach, dynamics were realized by Caio Vassão with architects, students, and educators.Thus, we created not only a panorama of practical and functional questions to be addressed but also of sensorial expectations, some abstract, some literal; sometimes unrealizable, sometimes accurate and feasible. .jpg?1522165952 "© Pedro Napolitano Prata") © Pedro Napolitano Prata The site contained two connected sheds, built in a terrain with 15 meters of front and 50 of depth, which had already undergone diverse reforms and sheltered different uses. It was necessary an intervention to update the industrial typology in a device of teaching by the coexistence and mediation.  Exploded Axonometric We approached the floor plan as a territory composed of contraction and expansion zones, in which there are frontiers and borders, but they are tenuous, allowing and encouraging transgression, catalyzing imaginative appropriation, understanding children as an active subject and space transformers.The hallways, as spaces whose only function is the continuous movement of come and go, do not exist. All environments are expansions of formal classroom and propitious to the assimilation of knowledge. Consequently, to get from one point to another, it is possible to choose different paths, different interactions, choose what to find and what not.
The longitudinal conformity of the building, adjacent to the neighboring lot, required zenith openings and cuts in the slabs to provide quality light to the ground floor, always linked to the vertical circulations. The use of different materials as partitions allowed variation of the light filtering, suiting to the different program’s needs.Complementary and associated with the partitions, the shelves give less or more privacy to the rooms according to their occupation.  Cross Section The main edges are composed of two types of rooms: the ones with fixed and translucent seals; and the ones with movable panels that delimit the space.The panels perform as support for the activities that take place around them, serving as a closet, bookshelf, support for backpacks, instruments, among others.By being moved, the configuration of the space around them is changed, expanding the classroom for the surrounding areas.They expand to receive activities with more interaction and contract for the introspective ones. .jpg?1522165837 "© Pedro Napolitano Prata") © Pedro Napolitano Prata Classrooms are seen as supporting points for the surroundings, something like a safe haven for the student’s drift into the school. They have a non-orthogonal design, generate inflections that unfold, at their edges, spaces that are both continuous and distinct, without clear discrimination, delimited uses.Summed up, formal learning spaces and informal learning spaces, the rooms and their contiguous space, each with its characteristics, aim to meet the diverse demands of open pedagogical environments.  Initial Axonometric Sketch A survey done by the office through video capture to analyze the post-occupation, shows the appropriation of different spaces by students and educators for different activities: lectures take place outside the rooms, groups of children develop a research in the room, someone plays chess on the bench, a girl does a hidden reading under the stairs, a sarong on the ramp or a teachers' meeting at the cafeteria tables. They validate the project as a catalyst for appropriations and instrument that exposes students to the inherent conflicts of collective living.
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| Frank Gehry Selected to Design Colburn School Campus Expansion in Los Angeles Posted: 28 Mar 2018 01:00 AM PDT .jpg?1521561138 "Colburn School Plaza. Image © Philip Pirolo") Colburn School Plaza. Image © Philip Pirolo Last week, Sel Kardan, the President and CEO of the Colburn School, announced that Frank Gehry has been selected to design a campus expansion, adjacent to its existing facilities in Downtown, Los Angeles. The expansion site, located on Grand Avenue, will become the newest neighbor to other notable projects including Diller Scofidio + Renfro's Broad Museum, Gehry's Walt Disney Concert Hall, Isozaki's Museum of Contemporary Art, and just a few blocks away from Moneo's Cathedral of Our Lady of the Angels, and Coop Himmelb(l)au's High School #9. Gehry's contribution to the school will make this area of Los Angeles one of the world's largest sites for performing and visual arts programs. .jpg?1521558813 "Colburn School Campus. Image © Bruce F. Cramer") Colburn School Campus. Image © Bruce F. Cramer The design, which will include the construction of three indoor performance halls and an outdoor performance venue in addition to classrooms, a rehearsal center, and housing for both students and guest artists. The 1,100-seat concert hall, designed to hold orchestra performances, 700 seat studio theater, and 100-seat cabaret performance hall will be open to a wide range of partner institutions so that performances can be open to the public. .jpg?1521561152 "Colburn School Campus. Image © Philip Pirolo") Colburn School Campus. Image © Philip Pirolo Slated to Collaborate with Gehry Partners on the project, are Yasuhisa Toyota of Nagata Acoustics, who provided acoustic engineering for the Walt Disney Concert Hall and Elbphilharmonie in Hamburg, and Michael Ferguson, principal of TheatreDNA, who consulted on Gehry's New World Center and Fisher Center for the Performing Arts at Bard College. .jpg?1521558760 "Courtesy of Colburn School") Courtesy of Colburn School Commenting on the selection to design the school, Frank Gehry said, "The expansion of the Colburn School fills an important addition to the long-held dream to create a cultural district in downtown Los Angeles. The school is already an incredible asset and major player, and the expansion is a great opportunity to add breadth to this dream. I am honored to be chosen for this task, and I feel that it is an opportunity to further increase the school's relationship to other cultural venues like The Music Center, Walt Disney Concert Hall, The Broad, and MOCA. The young musicians, dancers, and performing artists will add to the vitality and excitement of the existing cultural organizations. What we all dreamed about twenty years ago is now becoming within reach, and we will do our best to make it a proud addition." News via: The Colburn School.  This posting includes an audio/video/photo media file: Download Now |
| WKCDA Announces Winners of the Inaugural Hong Kong Young Architects and Designers Competition Posted: 27 Mar 2018 11:00 PM PDT  Courtesy of New Office Works The West Kowloon Cultural District Authority (WKCDA) has announced the winning design for the inaugural Hong Kong Young Architects and Designers Competition. The competition asked local architects and designers emerging in their careers to design a "temporary pavilion that promotes sustainability and addresses economic and natural resources." The winning design, titled Growing Up, by New Office Works is a timber pavilion that sits on the waterfront in Nursery Park at West Kowloon. Paul Tse Yi-pong and Evelyn Ting Huei-chung from New Office Works will serve as Design Advisors with the project set to open in fall 2018.  Courtesy of New Office Works Growing Up's ability to foster contextual cultivation is inspired by the growth of trees. "Just as the process of growing trees requires good soil, so the process of growing culture requires a strong foundation of collective memories of the city." The design addresses the intimate scale of human interaction, all the way up to the scale of the nearby harbor. Views framed to the waterfront evolve as the journey around the pavilion transforms with the density of the remarkably simple volume.  Courtesy of New Office Works Thomas Heatherwick of Heatherwick Studio, a juror for the competition, said, "Competitions like this are so important for supporting and encouraging the new design talent that will shape the cities and public spaces that surround us in our futures." Growing Up emulates this idea by capturing everyday elements essential to Hong Kong, "embedding them within the fabric of soon-to-be major arts and cultural center."  Courtesy of New Office Works In the future, WKCDA aims to make this a "biennial design competition" that will help promote emerging Hong Kong architects and designers to the world. News via: WKCDA.  This posting includes an audio/video/photo media file: Download Now |
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