Arch Daily |
- Black House in Vilnius / Laurynas Žakevičius architects
- 71sqm. Apartment Renovation / Xue Jin Architecture Network
- Gheisizadeh Residential Apartment / ASHARI Architects
- H Academy / CJ Studio
- Jagat Tower / Sindhu Hadiprana Design Consultant & Studio Sa_e
- Cat House / FANAF
- LEGO Announces Launch of Sustainable Pieces Made From Sugarcane
- Casa Soporte / Albor Arquitectos
- Flower Duplex / Modal Design
- South American Architects Sandra Barclay and Gloria Cabral Win 2018 Women in Architecture Awards
- Adobe Headquarters Renovation / Gensler
- 2018 Venice Biennale Reveals Further Details About This Year's Theme, "Freespace"
- Grit vs Globalism: What the City of Blade Runner 2049 Reveals About Recent Trends in Urban Development
- Ancram Barn / Worrell Yeung Architecture
- Woods Bagot to Transform 82-Year-Old Chinese Textile Mill Into Entertainment Destination
- UAE Pavilion at the 2018 Venice Biennale to Explore Human-scale Landscapes and Social Spaces
| Black House in Vilnius / Laurynas Žakevičius architects Posted: 02 Mar 2018 09:00 PM PST .jpg?1519909510 "© Leonas Garbačauskas") © Leonas Garbačauskas
.jpg?1519909643 "© Leonas Garbačauskas") © Leonas Garbačauskas Text description provided by the architects. Accurate, precise, purified aesthetics. Natural stone tiling, wood sticks and concrete panels are used for facades. The house and the site slope are composed together as a continuous space. The site is divided into two different level areas – approach area and inner yard for relaxation. The main entrance and technical premises are one level lower than main living house area. The approach to the yard rises along the natural slope ramp under the house, directing visitors toward the rear of the site. Within the inner garden, the ground becomes continuous with the floor of the house living, dining and sleeping areas. You can come out on the grass straight from the room. .jpg?1519910167 "© Leonas Garbačauskas") © Leonas Garbačauskas  Upper Floor Plan .jpg?1519909901 "© Leonas Garbačauskas") © Leonas Garbačauskas The idea of the project was inspired by the site terrain keeping it as natural as possible. We divided the house into two functional areas: the entrance, garage and technical facilities on the northern side at the bottom of the slope, and all the living space - at the top of the slope, on the southern side, where the terrain is already flat. So this organically splits the plot as well to an auxiliary area in the north and recreational living area in the south. A narrow, high and grey staircase enters the living space of the house. The upper area is L shaped. One part is for the lively living area and a long monochromatic corridor leads to quite bedrooms. .jpg?1519909861 "© Leonas Garbačauskas") © Leonas Garbačauskas The concrete cladding of front elevation was selected to blend with retaining concrete walls. The remaining part of the house is covered with black slated stone tiles and natural wood. Clear and minimal house style and dark natural colours of the building merges harmoniously with nature and surrounding. The austere interior is for a comfortable life. Well organized spaces are in clear geometric forms. Each detail is used to provide the required function. Living space is the highest -around 4meters high and is separated from the dining area with hanging cube above the table. Sitting at the dining table is like being in a different area. The secret and intrigue attract as through the deep sunroofs you can see the sky. .jpg?1519909534 "© Leonas Garbačauskas") © Leonas Garbačauskas The forms of furniture and interior details are clean and clear, even the chair legs create some distinctive graphical drawing. All house is monochromatic grey with a natural oak wood floor and contrast details. Long L shaped corridor is underlined with a long luminaire, which is a protruding line of the wall. A softly illuminated wall can turn into the gallery of the house. The essence of the interior is freedom, unobstructed by any additional details. It creates a feeling of perfect lightness, relaxed atmosphere which is aimed in every home. .jpg?1519909728 "© Leonas Garbačauskas") © Leonas Garbačauskas  Sections .jpg?1519909665 "© Leonas Garbačauskas") © Leonas Garbačauskas  This posting includes an audio/video/photo media file: Download Now |
| 71sqm. Apartment Renovation / Xue Jin Architecture Network Posted: 02 Mar 2018 06:00 PM PST  Entrance view. Image © Chuan Bai
 Living room. Image © Chuan Bai Text description provided by the architects. The apartment, a unit in a 21-year-old residential building sitting at the central section of Chongqing City, China. The building constructed on the mountain, respecting the original landform, is a typical precious local residence. It used to be the home of a couple with their only child in the past two decades. It is now owned by a young couple. Dissatisfied with the original layout, lighting and ventilation, the young couple wishes to have the apartment reconstructed so that it is to become more pleasant, comfortable and functional to meet their needs.  Living room. Image © Chuan Bai  Section For reconstruction of the apartment, it is required to focus on the kitchen and toilet. The owner wishes to have a brighter and more spacious kitchen, for daily cooking and enjoyment of preparing foods with friends there. As to toilet, the owner wishes to have a relatively independent bathroom with a bathtub provided.  Cooking area. Image © Chuan Bai The original kitchen and toilet are small with unpleasant insufficiency of lighting. Therefore, it is of necessity to expand the kitchen and the toilet. However, since almost all the walls inside the residential building are load-bearing and cannot be dismantled, design of the new internal organization must be based on the existing wall structure. This undoubtedly adds to the difficulty in reconstruction. The core of design is to relocate the kitchen without dismantling main wall bodies, meanwhile the kitchen need to be combined with other functional areas to make the apartment of greater capaciousness, brightness and comfort. While the original kitchen area is to be transformed the bathroom. The toilet and bathroom are to be designed as two relatively independent parts.  Bathroom. Image © Chuan Bai The new apartment will have two relatively private bedrooms, and one shared open space that flexibly serves for multiple purposes. The open space so designed is to remove spatial limitation and make the occupants closer to each other while doing the normal daily activity there. Meanwhile, fixtures such as sofa, desk and cabinet are combined to form an entirety and set against the same wall, making the apartment appear luxurious with more room for activities.  Guest room. Image © Chuan Bai  Contrastive  Living room. Image © Chuan Bai Presently in China, high-rise buildings are coming into being like mushrooms after rain, while old buildings are gradually falling into oblivion. This case is intended to provide a reference for reconstruction of old apartments, in the hope that more designers will be dedicated to exploring and improve the reconstruction value of old apartments.  Shoe shelf. Image © Chuan Bai  This posting includes an audio/video/photo media file: Download Now |
| Gheisizadeh Residential Apartment / ASHARI Architects Posted: 02 Mar 2018 02:00 PM PST .jpg?1519906184 "© Parham Taghioff") © Parham Taghioff
 © Parham Taghioff Text description provided by the architects. In Gheisizadeh residential apartment project, our main effort was to provide the maximum possible outdoor space to the residents, while creating the maximum visual privacy from outside to inside. The initial idea was to create a flexible and variable building façade. The intention was to reach the desired result by changing the openings, "While giving the residents the right to choose their level of privacy".  Diagram 2 The effort was to, while respecting the introversion aspect of the residential units, consider implementing a terrace to protect the disturbing severe direct sunlight in summer and benefit from the sunlight in the cold weather of winter because of the warm and dry climate of Shiraz. As a result, after the trial and errors on different materials, we chose the metal punched sheets with furnace colour coating. These tiles are connected to the terrace by the hinges and can bend on each other. When the hinges are closed, there is no visual connection from the outside; In addition, due to building front elevation which is located at the southern façade and also 80 degrees sun radiation in the summer noon of Shiraz, this type of facade controls the disturbing summer light. .jpg?1519906068 "© Parham Taghioff") © Parham Taghioff We implemented green elements in the vertical wall of the facade to induce more "sense of home" and to link with natural materials which controlled light and view in residential spaces. Jasmine Dutch and Pich Amin-o-dowleh were our plant choices. The windows are framed with boxes that were extruded from the façade surface, created shadows on the windows and the south facade. The frames were installed in a scattered pattern due to the visual aspect of the design and prevent monotony on the façade .jpg?1519905729 "© AmirAli Ghaffari") © AmirAli Ghaffari  Floor Plans At night, in addition to the brightness of the light reflected from the punched holes, the small square openings on these sheets with coloured lights on the grey facade were created and ultimately all of these factors help to create a wall with visual and functional flexibility in the facade. Another notable point was the creation of an integrity between the residential building and the yard, which caused the sheets to extend along the walls. At the entrance, the flooring continues inside the yard to the sidewalk to emphasize its unique identity for the building. .jpg?1519905967 "© AmirAli Ghaffari") © AmirAli Ghaffari  Diagram 1  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Mar 2018 12:00 PM PST  © Kuo-Min Lee
 © Kuo-Min Lee Text description provided by the architects. H Academy primarily offers hairdressing courses including hair cutting, dyeing, perming, and additionally, make-up, and nail art. The plan focuses on the teaching process and how the program functions. The teaching consists of academic and practical learning. More complicated activities would be performed in practical learning, so there is only one classroom for academic and two for practical.  © Kuo-Min Lee The hairdressing procedure usually separates into two categories, the primary that takes longer duration and the minor that lasts only temporarily, such as the differences between hair cutting and washing. Thus, space for minor procedure could be shared between two practical classrooms and in turn forms a cycle to each practical classroom. In such specialized relationship of sharing, a lab box that includes washing and perming is embedded between these two classrooms. Eventually, there exists an individual lab box within the interior and becomes "a box within a box" as a layered space.  © Kuo-Min Lee Entering the lobby, visitors could easily locate service counter nearby for general information enquiries. Next to the lobby is a long corridor lounge where people can meet or share ideas. The prior mentioned lab box sits next to the lounge. Visitors could occasionally see lab performances in real time through the dark grey glass. All spaces that surround the lab box are connected continuously as a cycle without any dead end.  Plan The academic classroom could be entered from the lobby. The practical classroom could be accessed either from the lobby or through the lab box. Flexible partition walls are adopted between each classroom. In such a way, space of different size could be transformed according to activity requirements. All salon chairs and stations are moveable and could be kept in storage. Eventually, A fashion hairdressing show could be held when all the partition wall pulled back and three classrooms converted into one big space.  © Kuo-Min Lee "A box within a box" is the main concept that has related to manifold meanings. First, from an education view point, it is a skill-oriented school that it is better doing rather than sitting listening. To emphasize this characteristic, the washing and dyeing procedures are deliberately exhibited to the public as an education interface. Second, on a branding level, the box space is framed with black metal and grey glass to create an atmosphere of being low-key and mysterious.  Diagram Together with illuminated by projected lights, hairdressing is virtually compared to chic boutique goods. Third, on a spatial level, to be more easily sensed as a stage, the lab box is designed with a lifted floor and a dark grey wire-net ceiling for height variation. Due to privacy protection, curtain would be temporarily lowered down along the procedure until timing is right. By doing this, It is also a symbol of a stage as if it were changing a scene.  © Kuo-Min Lee Among homogeneous furniture, there exist two exception spots where specialized furniture is designed. One is the bar area next to the service counter. It could be a focal point when visitors entering the lobby. The other is the counter in the hair color cream lab, the so called lab box, where its diamond shape creates a window shopping alike effect to the visitors. The whole ceiling is open without being encased.  © Kuo-Min Lee The only trick applied is the original concrete finish reserved for ducts and piping area above certain height and other materials, color paints underneath that height. Lighting, as an element to represent an invisible ceiling, is hung angled from top at a specific height referred as a space boundary that guides the spatial hierarchy and its contained activities.  © Kuo-Min Lee To sum up, this project is a teaching space based on working procedure, part of which is treated as a performance stage that brands its unique identity. Activities are flexible and reorganized from time to time according to necessary programs that enriches space multiplicity. Being minimal and sophisticated at the same time, the space precisely resonates the fashion frontline of hairdressing.  © Kuo-Min Lee  This posting includes an audio/video/photo media file: Download Now |
| Jagat Tower / Sindhu Hadiprana Design Consultant & Studio Sa_e Posted: 02 Mar 2018 11:00 AM PST  © Lindung Soemarhadi
 © Lindung Soemarhadi Text description provided by the architects. Situated in Jalan Tomang Raya Jakarta, Jagat Tower is the new office of Jagat Construction, a company engaged in construction field. The client asks the architect to design an office tower not only as their main office but also as a rental office. Its total area is 1740,5m2, and consist of 9 floors. On the lower ground there are lobby and banking hall, 2nd-8th floors are for tenant office and 9th floor for the most private function, meeting room / ballroom room.  © Lindung Soemarhadi The main aim of design was to create an effective and efficient space program of office. To achieve the desired level of effectiveness and efficiency, the architect tried to arrange the building mass in such a way. With the length of site 42m, the form of a large-volume building should be avoided because it will ruin the urban fabric of the city.The mass composition of the building must be able to break the massive and bulky mass.  © Lindung Soemarhadi After several attempts, the architect decide that the most suitable mass arrangement for this building is stacked one. With a "stacked box" mass configuration, building efficiency can reach up to 80%, quiet effective for a comercial building. Such mass configurations also allow the architect to add open space serves as a communal space on the roof of 6th, 8th, and 9th floor. This communal space also serves as a socialization space for workers. Actually it's not an easy job to convince the client about the importance of these communal space. But in the end the architect is able to convince the client how important this communal space is to the workers. Because the space for socializing will increase the effectiveness in work  Section As for the facade concept itself, the facade exploration illustrates an equalizer to analogize the company's progress flow with 3 blue boxes. The inspiration also comes from the "san" character in chinese number means three. It's the analogy of the number of generation of Jagat Construction.  © Lindung Soemarhadi The building facade is designed with double glass system. With this facade system, the gap between the glass will trap the heat and noise from the outside so it can reduce the heat and noise from the outside of the office. The glass selection also important. The selected glass is a kind of glass with low OTTV value. Another facade feature added by the architect is the vertical aluminium bars. This aluminium bar fuctioan as a sun shading for this office building.  © Lindung Soemarhadi  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Mar 2018 09:00 AM PST .jpg?1515545593 "© Lei Zheng") © Lei Zheng
.jpg?1515545663 "© Lei Zheng") © Lei Zheng Text description provided by the architects. Entrusted by the popular television program, "Change Your Life", FANAF Architects accepted a renovation project to breathe new life into a home in Shanghai's old residential Xuhui District on Leshan Road. A couple and 51 cats shared the client's single room, which spanned a total of 31 square metres. .jpg?1515544817 "© Xiaowen Jin") © Xiaowen Jin To begin the project, the designers lived with the clients and their cats in the space for an entire day. The unique experience allowed the designers to understand the client's lifestyle needs and areas of concern in sharing a small area with so many cats. Through the experience, the designers identified that the room lacked separate areas. The couple's living space was completely occupied by cats, causing discomfort for the owner.  Section  Section The extent of the problem meant that it was common to find cat hair on kitchen utensils, and to sleep with more than a dozen cats at night. The owner did not have a place to relax alone and guests could not sit and enjoy conversation or stay for long periods. Secondly, in order to keep the cats from escaping, the windows were constantly shut, meaning the room did not have adequate ventilation. Additionally, as the place was located on the first floor of the building, sunlight could not be enter the room during the day. The closed-off, tightly-knit area resulted in an unhealthy environment for the people and cats living in it. .jpg?1515545766 "© Lei Zheng") © Lei Zheng FANAF executed its vision with a three part strategy: separation, functionality and open/closed environments. 'Separation' refers to dividing the space between the master bedroom and the cats' living quarters; the kitchen and dining room and the cats' play area; and the human bathroom and cat bathroom. 'Functionality': The owner wanted a space to indulge in his love of tea, so the designers established a small tea area for hosting guests and entertaining. The rooms were also transformed to become multi-functional, with 'Open/Close' environments. Moveable walls and doors were installed to let the cats to move freely and allow more privacy when required. .jpg?1515545694 "© Lei Zheng") © Lei Zheng .jpg?1515545679 "Courtesy of FANAF") Courtesy of FANAF To make the space sustainable, FANAF focused on three elements: light, ventilation and water. Parts of the courtyard were restored to invite the open air and stylish roof lights were installed to direct natural sunlight. This became the cats' main area of activity. Ventilation was improved with the construction of new doors in the main entrance and kitchen. They now have functions to become like blinds – opening enough to let air in, but not letting the cats escape. .jpg?1515545710 "© Lei Zheng") © Lei Zheng .jpg?1515545735 "© Lei Zheng") © Lei Zheng Finally, a water-efficient recyclable pump system was installed, with a pebble-filled stream of water running through the main courtyard, allowing the cats to drink water easily. The circular channel also helps the tree in its centre to absorb water, which will then transpire and create oxygen. In this way, the living water system supports green irrigation and provides a modern, eco-friendly living environment. FANAF debuted a new place that now feels cosy, breathable and inviting for all those inhabiting the space. .jpg?1515544327 "Courtesy of FANAF") Courtesy of FANAF  This posting includes an audio/video/photo media file: Download Now |
| LEGO Announces Launch of Sustainable Pieces Made From Sugarcane Posted: 02 Mar 2018 08:00 AM PST  Courtesy of LEGO LEGO is going green. The Danish company has announced that they have begun production on a range of pieces made from a plant-based plastic sourced from sugarcane. As a nod to their plant-based origins, the first sustainable pieces will take the form of LEGO botanical elements such as leaves, bushes and trees. The sugarcane material will be broken down and reformed as polyethylene, a durable yet flexible plastic, making them technically identical to the conventionally produced pieces. The sugarcane itself will be sustainably and ethically sourced following guidelines set by the the Bioplastic Feedstock Alliance (BFA) and the Bonsucro Chain of Custody. "At the LEGO Group we want to make a positive impact on the world around us, and are working hard to make great play products for children using sustainable materials. We are proud that the first LEGO elements made from sustainably sourced plastic are in production and will be in LEGO boxes this year. This is a great first step in our ambitious commitment of making all LEGO bricks using sustainable materials," said Tim Brooks, Vice President, Environmental Responsibility at the LEGO Group. Learn more here.  This posting includes an audio/video/photo media file: Download Now |
| Casa Soporte / Albor Arquitectos Posted: 02 Mar 2018 07:00 AM PST .jpg?1519873294 "© Aslam Ibrahim Castellón Maure") © Aslam Ibrahim Castellón Maure
.jpg?1519873331 "© Aslam Ibrahim Castellón Maure") © Aslam Ibrahim Castellón Maure Text description provided by the architects. Building in Cuba is a complex endavour. For an architect, is an ever ascending challenge, that be by the perennial absence of materials, elevated costs or the commissioner´s reluctance to work on contemporary proposals. A cuban architect is an utopian character, whose work is not a necessity, neither aesthetic nor conceptual. Hustling in this hostile environment, Albor challenges reality guided by tis believe that from within the crisis, their architectural porposal can thrive and bloom.
Assuming the design and completion of a dwelling that fulfill every requisite, at the same time highlighting itself from the context and using nothing more than the most common and accesible of materials, is an challening feat; specially due to the aforementioned materials are often regarded as the resources for the less wealthy. .jpg?1519873520 "Concept 01. Image Courtesy of Albor Arquitectos") Concept 01. Image Courtesy of Albor Arquitectos .jpg?1519873562 "Concept 02. Image Courtesy of Albor Arquitectos") Concept 02. Image Courtesy of Albor Arquitectos .jpg?1519873984 "Concept 03. Image Courtesy of Albor Arquitectos") Concept 03. Image Courtesy of Albor Arquitectos Several real estate gestors were consulted to acquaintance about the main features of recently acquired houses. The investigation gave as main aspects the location the proximity of the center of the Old City, the existence of a garage, at least one bedroom and bathroom at the first level, unity of spaces, a versatile backyard, and regadless of the amount of bedrooms and their level location, each one must contain a private bathroom. the convivence of at least two families and space for a possible economic activity was also demanded.
For the achieving of these goals, a dwelling was conceived that, even as it couldn´t comply with all the initial exigences due to the characteristics of the lot (4x15mts), allowed fast and expedite remodelation without compromising the integrity of the dwelling, regardless the intentions of the supposed buyer.  Longitudinal Section 01 Resources like a double-height access, centered-lighting that goes though three levels and a backyard that ensured enviromental control of all the spaces of the houses. At the same time, a tructure was devised that allowed a fast remodelation, reducing finishing costs and mantaining the initial objectives. Cement stuccos were used on bathrooms and kitchen, cement floors, artisan-casted alluminum external fixtures and internal fixtures made of sugar-cane cardboard. Finally, a three-level dwelling was projected and finished that comprises a first free floor (where the public spaces are ocated, a private zone for bedrooms on the second and a double-funcion third floor with a terrace (providing an outstanding view) and laundry. .jpg?1519875327 "© Aslam Ibrahim Castellón Maure") © Aslam Ibrahim Castellón Maure Albor make use of all these elements-mainly by neccesity-because its handling and implementation has become their aesthetic signature to maintain a viable and economic architecture and style. This house is a showcase of what Albor is defined and defend. .jpg?1519873783 "© Aslam Ibrahim Castellón Maure") © Aslam Ibrahim Castellón Maure  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Mar 2018 05:00 AM PST  © Nico Marques
 © Nico Marques Text description provided by the architects. Located on a tight lot in Venice, California, the Flower Duplex is a union of opposites. Initiated by a local couple who had opposing styles, Modal Design resolved programmatic needs by replacing an existing duplex with a new structure that blended their distinct aesthetics. While the project was fairly straightforward programmatically, aesthetically the task was more challenging as their ideas for their new home were distinct. Hers: a rustic and potentially traditional home that evoked images of ageing barns in her home state of Colorado. His: a modern and open space connected to the outdoors.  © Nico Marques  Floor Plan 1  © Nico Marques The client's desire to nurture their close relationship with their long-time tenant yet maximize individual living areas also played into the mix. The resolution came via a question mark-shaped building form that offered private as well as communal exterior spaces. Two exterior gardens were carved out from the building mass, each programmed for individual activities and needs such as eating, relaxing and dining, and responsive to the sun's path. A private yard near the street takes advantage of early morning sun and a grassy lawn for the owner's dogs, while a more public yard in the rear embraces late afternoon sun and proximity to a covered outdoor eating patio. This rear public space is shared between the upper and lower units and allows for both physical and visual interaction between the clients and their tenants.  Diagram 1 Architecturally the design uses materiality and application to resolve the client's aesthetic differences. Traditional materials such as reclaimed wood siding salvaged from snow fences in Montana are integrated into a modern, streamlined structure. Their reverse board and batten application suggests a traditional palette but offers a more distinct, modern twist. Sloped roofs typically found on traditional homes and barns were used, but in standing seam metal. It tilts towards or away from the yards to maximize privacy and to optimize light penetration into the structure via skylights and light wells.  © Nico Marques On the home's interior, materials in the lower unit include polished concrete floors for durability and the same reclaimed wood siding applied as an accent in the main living space's ceilings. Emphasis on the efficiency of space and interest in maintaining large outdoor areas resulted in diminutive but comfortable rooms and combination spaces, most notably an extended kitchen island that serves not only as the centre of the main living space but the principal dining table as well.  © Nico Marques  This posting includes an audio/video/photo media file: Download Now |
| South American Architects Sandra Barclay and Gloria Cabral Win 2018 Women in Architecture Awards Posted: 02 Mar 2018 03:30 AM PST  Site Museum of Paracas Culture / Barclay & Crousse. Courtesy of Barclay & Crousse. Image Two South American architects have been selected as the winners of The Architectural Review and The Architects' Journal's 2018 Women in Architecture awards. This year's top prize, Architect of the Year, has been awarded to Peruvian architect Sandra Barclay, while Paraguayan architect Gloria Cabral has been selected as the winner of the Moira Gemmill Prize for Emerging Architecture, with both being recognized by the jury for their mastery of materials. Architect of the Year Site Museum of Paracas Culture / Barclay & Crousse. Image © Cristobal Palma Founding partner of Barclay & Crousse, Sandra Barclay has been awarded the Architect of the Year for her work on Peru's Site Museum of Paracas Culture (Museo de Sitio de Paracas). Located in the harsh environment of the Paracas Desert, the museum was built to replace a structure destroyed in a 2007 earthquake. Responding to these conditions, the building is designed to work with and withstand the difficult natural conditions. Judges' comments: The shortlist for the 2018 Architect of the Year award also included:
Moira Gemmill Prize for Emerging Architecture FADA / Gabinete de Arquitectura. Image © Federico Cairoli Gloria Cabral, partner at Asunción-based Gabinete de Arquitectura, has been awarded the Moira Gemmill Prize for Emerging Architecture. A protégé of Peter Zumthor, Cabral has developed a keen sense of elevating humble materials in inventive ways. Employing perhaps her favorite material, Paraguayan brick, Gabinete de Arquitectura constructed the soaring brick arch selected as the winner of the Golden Lion at the 2016 Venice Biennale. Cabral will receive a £10,000 prize named for former director of design at the V&A, Moira Gemmill. The fund will be used to support Cabral's continuing professional development. Judges' comments: The shortlist for the 2018 Moira Gemmill Prize for Emerging Architecture also included:
Two other prizes awarded as part of the Women in Architecture awards program, the Jane Drew Prize and the Ada Louise Huxtable Prize, were given earlier this year to Amanda Levete and Madelon Vriesendorp, respectively. News via The Architectural Review and Architects' Journal  This posting includes an audio/video/photo media file: Download Now |
| Adobe Headquarters Renovation / Gensler Posted: 02 Mar 2018 03:00 AM PST  © Emily Hagopian Photography
 © Emily Hagopian Photography Text description provided by the architects. Adobe's headquarters has become the physical extension of the company's brand, representing the company's creativity and innovation. Conveying Adobe's belief that its employees are their greatest asset, the renovated vertical campus is meant to foster collaboration and creativity for all of Adobe's employees through an open and vibrant working environment. New open workspaces, numerous gathering/meeting areas, including a terraced meeting space with bleacher seating and "living rooms," outside collaboration spaces, creative conference rooms and amenities, allow employees to connect in a multitude of ways.  © Emily Hagopian Photography As downtown San Jose's largest tech firm, the headquarters was designed to pay homage to both the city's past and present. The city's agricultural past is celebrated with an art installation that creates Adobe's iconic "A" from locally sourced orchard crates. A custom-designed rooftop trellis creates an outside space that draws employees outside for ad hoc meetings or cocktails with the city's skyline as the backdrop. Locally made rugs, furniture and decorative pieces showcase the community's artists and makers.  © Emily Hagopian Photography  West Tower / Second floor plan  © Emily Hagopian Photography Adobe's focus on creativity, innovation and community informed the design approach – a vibrant, purposeful use of color throughout, minimal finishes in each space, incorporation of curated art and locally made furnishings, and environmentally sustainable materials –resulting in a space that is the company's brand manifested and a headquarters that expresses the next generation of the innovative workplace.  © Emily Hagopian Photography  This posting includes an audio/video/photo media file: Download Now |
| 2018 Venice Biennale Reveals Further Details About This Year's Theme, "Freespace" Posted: 02 Mar 2018 02:03 AM PST  © Andrea Avezzu. Image Courtesy of La Biennale di Venezia At a press conference earlier today, curators of the 2018 Venice Biennale Yvonne Farrell and Shelley McNamara of Grafton Architects revealed more information about this year's upcoming event, to be hosted from May 26th to November 25th. Building on the thematic concept the duo presented last June—"Freespace"—the event will feature a main exhibition in the Central Pavilion of the Giardini and the Arsenale featuring work by 71 participants, while two Special Sections will feature a total of 29 further participants. Elsewhere, 65 national pavilions will present contributions from around the world, including 7 first-time participants: Antigua & Barbuda, Saudi Arabia, Guatemala, Lebanon, Mongolia, Pakistan and the Holy See. Biennale President Paolo Baratta commented on the theme:
The Special Sections will be titled "Close Encounter, meetings with remarkable projects," presenting works that were inspired by a reflection on famous historical buildings, and "The Practice of Teaching," presenting projects developed as part of a variety of teaching experiences. The two sections will feature 16 and 13 participants, respectively. Further, two special projects will be presented:
Finally, related events will be held throughout the Biennale period, including "Meetings on Architecture," in which participants will get the opportunity to discuss different interpretations of the "Freespace" manifesto. Excerpt from the "Freespace" manifesto released in June 2017FREESPACE describes a generosity of spirit and a sense of humanity at the core of architecture's agenda, focusing on the quality of space itself. FREESPACE focuses on architecture's ability to provide free and additional spatial gifts to those who use it and on its ability to address the unspoken wishes of strangers. FREESPACE celebrates architecture's capacity to find additional and unexpected generosity in each project - even within the most private, defensive, exclusive or commercially restricted conditions. FREESPACE provides the opportunity to emphasize nature's free gifts of light - sunlight and moonlight, air, gravity, materials - natural and man-made resources. FREESPACE encourages reviewing ways of thinking, new ways of seeing the world, of inventing solutions where architecture provides for the well being and dignity of each citizen of this fragile planet. FREESPACE can be a space for opportunity, a democratic space, un-programmed and free for uses not yet conceived. There is an exchange between people and buildings that happens, even if not intended or designed, so buildings themselves find ways of sharing and engaging with people over time, long after the architect has left the scene. Architecture has an active as well as a passive life. FREESPACE encompasses freedom to imagine, the free space of time and memory, binding past, present and future together, building on inherited cultural layers, weaving the archaic with the contemporary. To read the manifesto in full, see our previous article here. Participants in the "Freespace" Exhibition1. 6a architects (London, UK) 2. Alison Brooks Architects (London, UK) 3. Álvaro Siza 2 – Arquitecto, SA (Porto, Portugal) 4. Amateur Architecture Studio (Hangzhou, China) 5. andramatin (Jakarta, Indonesia) 6. Angela Deuber Architect (Chur, Switzerland) 7. architecten de vylder vinck taillieu (Ghent, Belgium) 8. Arrea architecture (Ljubljana, Slovenia) 9. Assemble (London, UK) 10. Atelier Peter Zumthor & Partner (Haldenstein, Switzerland) 11. Aurelio Galfetti (Lugano and Bellinzona, Switzerland) 12. Barclay & Crousse (Lima, Peru) 13. BC architects & studies (Brussels, Belgium) 14. Benedetta Tagliabue - Miralles Tagliabue EMBT (Barcelona, Spain; Shangai, China) 15. BIG - Bjarke Ingels Group (New York, USA; Copenhagen, Denmark; London, UK) 16. Burkhalter Sumi Architekten (Zürich, Switzerland) 17. Carla Juaçaba (Rio de Janeiro, Brazil) 18. Caruso St John Architects (London, UK) 19. Case Design (Mumbai, India) 20. Cino Zucchi Architetti (Milan, Italy) 21. Crimson Architectural Historians (Rotterdam, The Netherlands) 22. David Chipperfield Architects (London, UK; Berlin, Germany; Milan, Italy; Shanghai, China) 23. de Blacam and Meagher Architects (Dublin, Ireland; Ibiza, Spain) 24. Diller Scofidio + Renfro (New York, USA) 25. DnA_Design and Architecture (Beijing, China) 26. Dorte Mandrup A/S (Copenhagen, Denmark) 27. Elemental (Santiago, Chile) 28. Elizabeth Hatz Architects (Stockholm, Sweden) 29. Estudio Carme Pinós (Barcelona, Spain) 30. Flores & Prats (Barcelona, Spain) 31. Francesca Torzo Architetto (Genova, Italy) 32. Gion A. Caminada (Vrin-Cons, Switzerland) 33. GrupoSP (São Paulo, Brazil) 34. Gumuchdjian Architects (London, UK) 35. Hall McKnight (Belfast and London, UK) 36. Inês Lobo, Arquitectos (Lisbon, Portugal) 37. Jensen og Skodvin Arkitekter AS (Oslo, Norway) 38. John Wardle Architects (Melbourne, Australia) 39. Kazuyo Sejima + Ryue Nishizawa / SANAA (Tokyo, Japan) 40. Kieran Long (Stockholm, Sweden) with Johan Örn; James Taylor-Foster (Stockholm, Sweden) 41. Lacaton & Vassal Architects (Paris, France) 42. Laura Peretti Architects (Rome, Italy) 43. Maria Giuseppina Grasso Cannizzo (Vittoria – Ragusa, Italy) 44. Marie-José Van Hee architecten (Ghent, Belgium) 45. Marina Tabassum Architects (Dhaka, Bangladesh) 46. Matharoo Associates (Ahmedabad, India) 47. Michael Maltzan Architecture (Los Angeles, USA) 48. Niall McLaughlin Architects (London, UK) 49. O'Donnell + Tuomey (Dublin, Ireland) 50. Paredes Pedrosa Arquitectos (Madrid, Spain) 51. Paulo Mendes da Rocha (São Paulo, Brazil) 52. Peter Rich Architects (Johannesburg, South Africa) 53. Rafael Moneo, Arquitecto (Madrid, Spain) 54. Rintala Eggertsson Architects (Oslo and Bodø, Norway) 55. RMA Architects (Mumbai, India; Boston, USA) 56. Robert McCarter, Professor of Architecture (St. Louis, Missouri, USA) 57. Room11 Architects (Hobart, Tasmania, Australia) 58. Rozana Montiel Estudio de Arquitectura (Mexico City, Mexico) 59. Salter Collingridge Design (London and Ludlow, UK) 60. Sauerbruch Hutton (Berlin, Germany) 61. Skälsö Arkitekter (Visby and Stockholm, Sweden) 62. Souto Moura - Arquitectos, S.A. (Porto, Portugal) 63. Studio Anna Heringer (Laufen, Germany) 64. Studio Gang (Chicago, New York and Los Angeles, USA) 65. Studio Odile DECQ (Paris, France) 66. Talli Architecture and Design (Helsinki, Finland) 67. Tezuka Architects (Tokyo, Japan) 68. Toyo Ito & Associates, Architects (Tokyo, Japan) 69. Vector Architects (Beijing, China) 70. VTN Architects (Hochiminh City, Vietnam) 71. Weiss/Manfredi (New York, USA) Participants and Projects in the "Close Encounter" Special Section1. A2 Architects (Dublin, Ireland) 2. BOYD CODY Architects (Dublin, Ireland) 3. Noreile Breen (Dublin, Ireland) 4. Bucholz McEvoy Architects (Dublin, Ireland) 5. Carr Cotter & Naessens Architects (Cork, Ireland) 6. Clancy Moore Architects (Dublin, Ireland) 7. DePaor (Wicklow, Ireland) 8. Donaghy + Dimond Architects (Dublin, Ireland) 9. Kevin Donovan (Dublin, Ireland) Ryan W. Kennihan Architects (Dublin, Ireland) 10. GKMP Architects (Dublin, Ireland) 11. Hassett Ducatez Architects (Dublin, Ireland) 12. Heneghan Peng Architects (Dublin, Ireland) 13. Mary Laheen Architects (Dublin, Ireland), Aoibheann Ní Mhearáin (Dublin, Ireland) 14. Steve Larkin Architects (Dublin, Ireland) 15. Dominic Stevens, JFOC Architects (Dublin, Ireland) 16. TAKA Architects (Dublin, Ireland) Participants in "The Practice of Teaching" Special Section1. Aires Mateus (Lisbon, Portugal) 2. architetto Riccardo Blumer (Casciago - Varese, Italy) 3. Atelier Cube (Lausanne, Switzerland) 4. Bearth & Deplazes Architekten (Chur and Zürich, Switzerland) 5. Kéré Architecture (Berlin, Germany) 6. Mario Botta Architetti (Mendrisio, Switzerland) 7. Michele Arnaboldi Architetti (Locarno, Switzerland) 8. Miller & Maranta (Basel, Switzerland) 9. OBRAS Architectes (Paris, France) 10. PROAP / GLOBAL (Lisbon, Portugal) 11. Sergison Bates architects (London, UK; Zürich, Switzerland) 12. Valerio Olgiati (Flims, Switzerland) 13. walter angonese, architekt/architetto (Caldaro - Bolzano, Italy)  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Mar 2018 01:30 AM PST  The action in <em>Blade Runner 2049</em> often doesn't even take place in Los Angeles. Here, K approaches Las Vegas. Image © 2017 Warner Bros. Entertainment Inc. <a href='http://www.imdb.com/title/tt1856101/mediaindex'>via imdb</a> (used under fair use) There ought to be a word for this kind of film—halfway between a sequel and a reboot—but there isn't, so we just have to call it Blade Runner 2049. The film is perhaps more subtle in the way it refers to Ridley Scott's 1982 dystopian cult classic than some recent sci-fi restorations—Star Wars: The Force Awakens, I'm looking at you—but it isn't above a bit of blatant parallelism. For example, it's easy to see reflections of Blade Runner characters in 2049: private dick Rick Deckard is now the stoic, world-weary K; femme fatale Rachael is Joi, a hologram companion who straddles the line between mortal and machine; wacky Roy Batty is the single-minded, murderous Luv; not to mention a bevy of replicants passing for humans and cops with hidden agendas. In fact, one of the few prominent characters not recast is the city of Los Angeles, whose architecture is strikingly absent compared to the first film. The resulting movie feels curiously devoid of a civic soul, which is perhaps the point.  The architecture in the original <em>Blade Runner</em> shows more of a "civic soul" than its successor. Image © 1982 Warner Bros. Entertainment Inc. <a href='https://theredlist.com/wiki-2-17-513-863-823-1226-view-fantasy-sci-fi-6-profile-1982-bblade-runner-b-1.html'>via The Red List</a> (used under fair use) Los Angeles in Blade Runner was a paradox: dead but vibrant, dirty but drenched in rain, overcrowded but in the constant process of being abandoned. It's a complex heritage that belongs to both the city and cinema. Los Angeles has been used as a setting for many films, and its unique architecture has been invoked by filmmakers and studied by art historians on screen. The city has been so prominent throughout cinema history, in fact, that films such as the 1955 noir Kiss Me Deadly can be considered a kind of cinematic primer on LA architecture that isn't there anymore. One need look no further than the use of the Bradbury Building. The downtown Los Angeles landmark is hardly camera shy. It has been used in both film noir (D.O.A., Marlowe, Chinatown) and science fiction and fantasy (The Outer Limits, The Night Strangler) since the 1940s, so its use in Blade Runner was almost a given.  In perhaps its most famous role, the Bradbury Building reflects the eclecticism of the architecture in <em>Blade Runner</em>. Image © 1982 Warner Bros. Entertainment Inc. <a href='http://bladerunner.wikia.com/wiki/Bradbury_Building'>via bladerunner.wikia.com</a> (used under fair use) In fact, that film's climactic final battle through the Bradbury is probably the building's most famous role. That it can feature in films from the 1940s to the fictional 21st century suggests the timeless nature of the Bradbury's construction, which is reflected by the futuristic LA's distinctly eclectic architecture. Accordingly, the Los Angeles of Blade Runner is not too different from the Los Angeles of Chinatown. Both films understand that Los Angeles is about space, both the potential of empty space and the crush of filled space. Compare Deckard fighting his way through people and animals on the LA streets around Taffy Lewis' club with the crowd that suddenly surrounds Jack Nicholson's J. J. Gittes at the end of Chinatown. Each scene makes a crowded urban space seem oddly weightless: Blade Runner thanks to slow motion and Chinatown thanks to airy photography.  In <em>Blade Runner</em>, the architecture is ominous and even Gothic in character. Image © 1982 Warner Bros. Entertainment Inc. <a href='http://moviecitynews.com/2012/10/wilmington-on-dvds-blade-runner/'>via Movie City News</a> (used under fair use) Both films also understand the ominous, Gothic nature of the city's buildings—what was Spanish Revival in Chinatown becomes Beaux Arts in Blade Runner. One might argue that Blade Runner has a burnt-out and used-up streak that is missing from Chinatown, but consider the central theme of the latter: water and its importance to civilization. Faye Dunaway's well-groomed estate is just a drought away from resembling the desert-like underbelly of the LA River, where Gittes encounters cracked earth, an abandoned set of furniture and a lone boy on a donkey. If it had been raining, the scene could have been in Blade Runner.  There is not much distinctiveness to the architecture of Los Angeles shown in <em>Blade Runner 2049</em>. Image © 2017 Warner Bros. Entertainment Inc. <a href='http://www.imdb.com/title/tt1856101/mediaindex'>via imdb</a> (used under fair use) This surreal distinctness has evacuated by 2049. For one thing, the narrative doesn't stay in Los Angeles—the film even opens north of the city. And these far afield locations lack identity. There are no landmark structures. LAPD headquarters in downtown Los Angeles really doesn't seem that different from the central California farms or endless dumps of San Diego. There also isn't much variation within the scenes themselves. While Blade Runner was filled with contrasting light and shadow, 2049 has a monochromatic palette, practically in all caps: farmland is GRAY; Las Vegas is ORANGE; a night out at the beach is BLACK. It's as if color is a stand-in for architecture.  In <em>Blade Runner 2049</em>, architecture is largely replaced with monochrome cinematography. Here, Las Vegas is ORANGE. Image © 2017 Warner Bros. Entertainment Inc. <a href='http://www.imdb.com/title/tt1856101/mediaindex'>via imdb</a> (used under fair use) In fact, if there is any holdover of notable local scenery, it's the ubiquity of public advertisements—and not just because of the "Blade Runner curse." In our own time, the billboards of Sunset Boulevard in Hollywood are infamous for an omnipresence that approaches garishness. In the future of Blade Runner, corporations that cross borders as easily as pandemics bombard an increasingly disillusioned population with glitzy images. By 2049, commercials are even more invasive. Late in the film, K encounters an enormous advertisement (PURPLE) for the Joi hologram on the city streets. She is at once familiar and indistinguishable from every other lonely man's Joi—a giant who stretches up and down the coast, eschewing individuality for unity. Overwhelmed, K collapses.  There is not much distinctiveness to the architecture of Los Angeles shown in <em>Blade Runner 2049</em>. Image © 2017 Warner Bros. Entertainment Inc. <a href='http://www.imdb.com/title/tt1856101/mediaindex'>via imdb</a> (used under fair use) The future is now homogeneous, an unfortunate side effect of globalization. When global culture is local culture, Los Angeles looks like San Diego, so why shouldn't Sunnyvale, California, resemble Qingdao, China? Along with the uniform pollution and the melting pot blandness that began with city-speak, the future of 2049 may not be as architecturally distinct as before, but it's no less terrifying—and cinematically impressive—than it was in Blade Runner. Colin Newton is a Los Angeles based freelance writer. His work has appeared in local newspapers and blogs, and he frequently covers arts and culture. He writes about film, philosophy and more at IdolsAndRealities.wordpress. Barozzi Veiga's Unbuilt Museum Project Immortalized In Blade Runner 2049  This posting includes an audio/video/photo media file: Download Now |
| Ancram Barn / Worrell Yeung Architecture Posted: 02 Mar 2018 01:00 AM PST  © Magda Biernat Photography
 © Magda Biernat Photography Text description provided by the architects. Worrell Yeung recently completed this new 1,500 square foot multi-purpose barn in Ancram, New York. Located on a 30-acre property with a traditional existing house and other structures, this modern barn adopts an unmistakably contemporary design approach, while incorporating key elements of the agrarian vernacular of the Hudson Valley region.  © Magda Biernat Photography The building's overall form is clean and simple, and its volume is a single, unobtrusive gabled roof structure that nestles into the hillside with retaining walls that create a drive court between the barn and the house.  © Magda Biernat Photography  Exploded Axonometric  © Magda Biernat Photography The barn accommodates storage for two cars along with a dedicated garden/potting area and a flexible, covered outdoor room. This space offers a dramatic vantage point onto the property with large portals that strategically frame the Berkshires mountain views. Inside, the prefabricated wood scissor truss structure and wood framing are left exposed.  © Magda Biernat Photography Material selections throughout were made to be durable and require little maintenance given the climate zone. The roof is black metal and the exterior is clad in vertical black-stained hemlock wood siding while the interior is clad in the same hemlock wood but left natural.  © Magda Biernat Photography  This posting includes an audio/video/photo media file: Download Now |
| Woods Bagot to Transform 82-Year-Old Chinese Textile Mill Into Entertainment Destination Posted: 02 Mar 2018 12:00 AM PST  © Woods Bagot Fosun Group hired Woods Bagot to transform commercial planning of Dahua, an 82-year-old historic textile mill, into China's next retail and entertainment district. Located in Xi'an's urban center, the site sits next to Daming Palace, the Tang Dynasty's royal residence and a national heritage site which attracts thousands of tourists each year.  © Woods Bagot These historic buildings already have their own story to tell. We want to let them speak for themselves and then build on that story by writing the next chapter. Our design binds together old and new and turns conflict into dialogue, creating vitality from contrast. When it's complete, Dahua 1935 will set the bar for retail-led historic renovation projects in China and create a world-class retail and entertainment destination for this vibrant city said Ian Png, Principal at Woods Bagot.  © Woods Bagot Connecting past and future, Woods Bagot integrated layers of the imperial, industrial heritage which shaped the original site with modern innovation. The 65,000 square meter complex will be broken up into six themed zones: the dream workshop, amusement workshop, market workshop, power workshop, and two others dedicated to music and culture. The dream workshop is a colorful space for idea stimulation. Cirque du Soleil will be showcased in the amusement workshop. Visitors can shop local produce at the market workshop, while the power workshop will focus on sports and health. In between the zones, history-inspired sculptural art will create focal points throughout the site. Many users will arrive at the site via a new subway station which China plans to add within the year.  © Woods Bagot  © Woods Bagot  © Woods Bagot The building was designed by Land-Based Rationalism D-R-C. China's new entertainment district is expected to be open for business in 2019. News via: Woods Bagot.  This posting includes an audio/video/photo media file: Download Now |
| UAE Pavilion at the 2018 Venice Biennale to Explore Human-scale Landscapes and Social Spaces Posted: 01 Mar 2018 10:00 PM PST  Children playing soccer on sandy street outside the boundaries of bigness. Image Courtesy of National Pavilion UAE - la Biennale di Venezia As part of our 2018 Venice Architecture Biennale coverage we present the proposal for the UAE Pavilion. Below, the participants describe their contribution in their own words. The National Pavilion UAE will present "Lifescapes Beyond Bigness," an exhibition exploring human-scale architectural landscapes, at the 2018 Venice Biennale. The exhibition aims to highlight the role of architecture and urban design in forming the choreography of people's daily routines. It particularly investigates the role of 'quotidian' (every day) landscapes in accommodating, enhancing, and facilitating social activities across different places in the UAE.  Contrasting Urbanism: Human Scale Landscape in the foreground, and contemporary downtown Dubai in the background. Image Courtesy of National Pavilion UAE - la Biennale di Venezia The everyday life or the choreography of informal, un-programmed lifescapes in the UAE will be explored through a curatorial selection of different typologies and places from the UAE's diverse landscape, such as neighborhoods, urban blocks, streets and alleyways, squares and public spaces, mountains and agrarian settings. Through sophisticated site observation and mapping research techniques, the exhibition will present an exploration of their physical characteristics and typologies; behavioral rhythms and informal patterns of life; and the architectural and design traditions that have shaped them. It will also invite visitors to experience important landscapes that are often overlooked in common perceptions about UAE's megadevelopment discourse. "Lifescapes Beyond Bigness" is curated by Dr. Khaled Alawadi, an Emirati scholar and architect, and Assistant Professor of Sustainable Urbanism at the Masdar Institute in Abu Dhabi, part of Khalifah University of Science and Technology.  Children playing at their doorstep and in the alleyways of Bani-Yas, a traditionally designed Abu Dhabi neighborhood. Image Courtesy of National Pavilion UAE - la Biennale di Venezia "The late Sheikh Zayed bin Sultan Al Nahyan, the UAE's founding father, believed that urban planning should aim to support happiness and social cohesion by putting human needs at the center of the design. In line with this principle, many of the UAE's pre-1990s urban and non-urban 'quotidian' landscapes were socially responsive and facilitated the development of diverse, vibrant communities," says Dr. Khaled Alawadi. "This exhibition is an excursion into these humane and under-celebrated areas of the UAE, highlighting the interplay between the physicality of architecture and places, and the dynamic choreography of everyday life. The exhibition weaves an array of original observations about different sites and lifescapes in the UAE, enriching our understanding of what UAE's urbanism are about outside bigness". Khulood Al Atiyat, Manager of Arts, Culture and Heritage at the Salama bint Hamdan Al Nahyan Foundation, commissioner of the National Pavilion UAE, says: "Rather than focusing only on the design and physicality of the architecture itself, Dr. Alawadi's research encompasses human behavior and social life to paint a rich picture of the UAE which will challenge preconceptions. His important original research will make an invaluable contribution towards understanding the region's architecture and urban development." Curator The first UAE national scholar to specialize in the design of sustainable cities, Dr. Alawadi is Assistant Professor of Sustainable Urbanism at the Masdar Institute in Abu Dhabi, part of Khalifa University of Science and Technology, where he founded the MSc. in Sustainable Critical Infrastructure program. He is a trained architect, planner and urban designer whose research is devoted to urban design, housing and urbanism, especially the relationships between the built environment and sustainable development. Dr. Alawadi recently served as Visiting Assistant Professor at MIT's Center for Advanced Urbanism, and previously worked as an architect for Dubai Municipality and as an Assistant Professor at UAE University. He holds a PhD in Community and Regional Planning from the University of Texas at Austin.  Dr. Khaled Alawadi, curator of National Pavilion UAE - la Biennale di Venezia 2018  This posting includes an audio/video/photo media file: Download Now |
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