Arch Daily |
- Home for Life / AART Architects
- “Les Fuseaux“ Cultural Center / ANMA
- ANA / Christian Groß architecture
- 1305 STUDIO in Shanghai / 1305 STUDIO
- One Year Project / Life Style Koubou
- Pangyo J Residence / Kim Seunghoy (Seoul National University) + KYWC Architects
- Kondo Museum / Mamiya Shinichi Design Studio
- Dutch Pavilion at 2018 Venice Biennale, WORK, BODY, LEISURE, to Address Automation and Its Spatial Implications
- CORE 9 / Beaumont Concepts
- El Establo / [Plup!] Studio Costa Rica
- Let Us Celebrate the Women who are Shaping Architectural Practices Around the World
- Laurian Ghinitoiu Captures Dreamlike Nature of Junya Ishigami's Work at Fondation Cartier in Paris
- Orchid Educational Pavilion / FGP Atelier
- Madison Square Garden Unveils Images of Spherical Events Venue in London
- House 007 / Lineastudio Arquiteturas
- How Carol Ross Barney Became the Most Important Urban Advocate in Chicago Since Daniel Burnham
- NABUCO House / Pablo Gagliardo
- Populous to Collaborate on Design of North America's First eSports Stadium
- Inter-Generational Mixed Use Project Wins Imagine Angers Design Competition
| Home for Life / AART Architects Posted: 29 Mar 2018 10:00 PM PDT  Courtesy of AART Architects
 Courtesy of AART Architects Text description provided by the architects. With buildings accounting for 40% of carbon emissions in the Western world, and 30% of buildings having deficient indoor climates, we sought to create a carbon-neutral building that would benefit from solar energy, both actively by producing electricity and solar heat and passively by benefitting from the heat of the sun.  Courtesy of AART Architects  Situation  Courtesy of AART Architects Together with engineers, manufacturers and researhers, we came up with the design for Home for Life – an active house producing more energy than it consumes. With an expected energy surplus of 9 kWh/m2/year, it takes Home for Life approximately 35 years to produce the same amount of energy that was used to produce its materials, and by that time, the house will have returned more to nature than it has consumed. Over the long-term, therefore, the house will be an asset for rather than a burden on the environment.  Courtesy of AART Architects  Ground floor plan  Courtesy of AART Architects Furthermore, the structure of Home for Life is made of wood, while the facades are clad with natural slate, the floor tiles consist of mosaics of recycled glass and the windows use the latest energy-conserving glass technology. In addition, the window area represents 40 percent of the surface area, which is twice the area compared to a traditional single-family house.  Courtesy of AART Architects  First floor plan  Courtesy of AART Architects In this way, Home for Life ensures a healthy indoor climate by optimizing daylight, creating a close contact with nature and having integrated sensors that measure the heat, air humidity and CO2 in all rooms. The house also has an automatic facade system that adapts to the seasons of the year and draws fresh air into the house.  This posting includes an audio/video/photo media file: Download Now |
| “Les Fuseaux“ Cultural Center / ANMA Posted: 29 Mar 2018 08:00 PM PDT  © Guillaume Guérin
 © Guillaume Guérin Text description provided by the architects. Sitting at the edge of an industrial zone, Saint-Dizier's new arts centre occupies a complex site close to a roundabout fed by several busy roads. Despite slotting discreetly into a generally undistinguished environment, the building serves as a notable defining element marking the town's threshold.  Scheme Pod-shaped volumes Echoing the soft folds of the surrounding countryside, the five parallel pods of varying heights give the building its name (fuseau) as well as its unusual silhouette. The linear layout of the bands of grey aluminium accentuate the fluid roofline, and the two long façades are covered in narrower strips of champagne-coloured cladding which swivel along the southern side to form louvres offering protection from the sun. Along the western edge, the pods curve outwards to form a canopy. At night, alternating strips of light repeated mirror-like at ground level transform the long glazed passageway into a display window that can be seen from the roundabout.  © Guillaume Guérin A complex of performance spaces The arts centre is designed to host plays, concerts, dance performances, circus acts and special events for public and private users. The spaces therefore needed to be adaptable and multi-purpose.  Axonometric At the heart of the building, the main auditorium occupies the three central pods. With retractable seating offering modular configurations, the auditorium can accommodate a seated audience of 1,100, or 1,800 standing. Two balconies on either side follow the curve of the walls, bringing the audience close to the stage. The tapering walls and part of the false ceiling are clad in thin horizontal wooden strips that give the space a welcoming and intimate character.  © Guillaume Guérin The northern pod is occupied by a space for contemporary music that offers a studio for rehearsal and recording as well as a multi-purpose room for lectures or exhibitions.  Section A festive foyer Two stairways leading to the mezzanine floor run off the long passageway along the western side, which also houses the cloakrooms and public toilet facilities.  © Guillaume Guérin To the south, a spacious foyer of around 300 m2 is available for the audience from the main auditorium during shows; during the evening, a ticket office and large bar operate along the façade. In the summer, the foyer opens outwards towards the plaza and river thanks to four outsize pivoting glazed doors (4m x 6.4m). The area is independent from the rest of the building and can be hired separately. This system, as simple as it is spectacular, creates a friendly and festive space that blurs the boundaries between indoors and outdoors.  © Guillaume Guérin Landscaping Mirroring the dynamic lines of the pods, the areas besides the building have been designed in east-west layers that hug the curves of the passing river. Previously covered over at this point, the river Ornel is now a feature that ties the landscape together, rooting the site into its surroundings and linking it to the town centre where the Ornel flows into the Marne.  © Guillaume Guérin On the north bank beside the plaza, a raised terrace overlooks the river. The generously planted carpark is designed in successive bands that follow the lines of the Ornel. Located in a flood zone, it includes a system for storing excess water in large planted infiltration basins. From the carpark, audiences reach the foyer that serves the main auditorium via an existing footbridge.  Model The gardens at the Fuseaux centre, with their alternating strips of low-lying plants and denser flowerbeds, mimic the building's rhythm and set off the display window façade.  © Guillaume Guérin The building has become a beacon standing at the northern edge of the town, showing how an arts centre can help to stitch together disparate elements within a disordered urban landscape and become an important driver for regional development.  This posting includes an audio/video/photo media file: Download Now |
| ANA / Christian Groß architecture Posted: 29 Mar 2018 07:00 PM PDT  © Sebastian Schels Fotografie
 © Sebastian Schels Fotografie Text description provided by the architects. Situated on Ottobeurer street in the municipality of Ungerhausen, Lower Allgäu, the residential house, built at a cost of €178,000 is located near the centre of the village. Because no local land development plan exists for the site, construction standards were taken from Paragraph 34 of the Building Code.  © Sebastian Schels Fotografie The building is designed for 2 residents with a living area of 120m2. To the west, the building is bordered by the parent's house of the client on the main street, while a small housing development and former farmhouses flank the other sides of the site. The compact building, comprising of a generous south-west facing outside area, has an open floor plan on the inside.  © Sebastian Schels Fotografie  Ground Floor Plan  © Sebastian Schels Fotografie In order to afford the rooms generous space, even with a restricted building footprint, the living area is extended over two levels, with the rooms on the first floor reaching into the roof. The more public rooms, such as the kitchen, dining and living areas along with the internal garage are all located on the ground floor. The upper floor serves as the private area comprising of two bedrooms and a bathroom. A connection between both floors is achieved through the open gallery in the two-story living area. Depending on requirements, this space in the upper floor can be extended to become a private room. The timber construction establishes a strong relationship to the outer area through its precisely chosen openings on the ground floor.  © Sebastian Schels Fotografie  Section 02  © Sebastian Schels Fotografie  Section 01 In order to keep within the tight budget, cost efficient materials were chosen, enhancing both the inner and outer appearance. Final finishes or treated materials were avoided; instead the building is characterised by rough concrete surfaces and carpenter finished maritime pine boards. A cost efficient metal is also used for the façade which consequently wraps the inner concrete sculpture. With the dark color of its own façade, the building embeds itself in the surroundings of dark-painted wooden facades. This small house could well offer a suitable alternative to other conventional house concepts.  © Sebastian Schels Fotografie  This posting includes an audio/video/photo media file: Download Now |
| 1305 STUDIO in Shanghai / 1305 STUDIO Posted: 29 Mar 2018 05:00 PM PDT  © Shen-photo
 © Shen-photo Text description provided by the architects. The former office of 1305 STUDIO will be pulled down and we found this site near the Zhongshan Park in the Changning District of Shanghai. The site was marked as a garage in the original architectural drawing.  © Shen-photo
 © Shen-photo We have decided to keep the furniture and materials that were used to decorate the former office when designing the new office. Therefore, there is not much invested in the new office. Most of the furniture and decorative materials are from the former office, which makes the new office much resembles like the former one. Same stuff, different space. Everything can be totally different.  © Shen-photo North Yard We cleared all the garbage and finally create such a scene. The bamboo forest and the office are in perfect harmony.  © Shen-photo  North yard  © Shen-photo West Yard  © Shen-photo Bookshelves  © Shen-photo
 © Shen-photo Glass Showcase  © Shen-photo Plants  © Shen-photo Wasted plants picked up by us create the scene in front of us for enjoying or taking pictures. There are more wide plants and wasted stones outside the wall neglected or even abandoned by people, just like this garage. It might still be a garage if we were not lucky enough to find it.  © Shen-photo  This posting includes an audio/video/photo media file: Download Now |
| One Year Project / Life Style Koubou Posted: 29 Mar 2018 03:00 PM PDT  Courtesy of Life Style Koubou
 Courtesy of Life Style Koubou Text description provided by the architects. The architecture facing and adjusting the nature The site is located at the base of Bandai-san(mountain), we designed a second house for the family who living in the city. This region is designated as special heavy snowfalls area, we used more than 2m-high snow load to design a stilt structural system to protect the house from snow. The house has two blocks; a living function and a life related watery function are separately accommodated in each block. These are connected by a bridge that makes people enjoy harshness and happiness in natural environment with their five senses.  Courtesy of Life Style Koubou "One year project" as the name indicates "move with times" which means that it took entire one year to experience the whole process such as tree cutting, sawing, fabrication, and assembling together with nature. At its heart, a house building is expected to be succeeding each process through dialogue with nature. In general, the process of cutting tree is done in the depth of winter to draw the maximum material performance. And then lumbers are seasoned for half a year or three years at most. Average construction period is about four months for general housing project nowadays, compare to the recent work situation, the one year preparation period could be quite a long time. However, the length of time we spent in this project make many stories created by people involved in each process of cutting, sawing, processing, delivery, and assembling and planting trees at the site.  Courtesy of Life Style Koubou One hundred twenty trees with 80 to 90-year-old and approx. 40cm diameter, without any special treatment, keep the wooden original features, adjust lumber to original log size not to a standard, these diligent works make every expression of trees become alive.  © Ryoo, In Keun It usually functioning in accordance with defined regulations in modern society, we ponder that construction of the "One year project" should yield to nature. It would probably never have the chance to use up a tree until nothing left, however it makes possible by adapting the flexible method of yielding nature.  Courtesy of Life Style Koubou  Frame Drawing We believe whenever we use natural wealth trees, we have to circulate the forest and give them better environment more than before. This is an idea of "borrow" not "receive" the resources from natural environment. After the project completion, we have to return-as-we-used to plant the same kind of trees to prepare the necessary amount of natural material for next generations.  Courtesy of Life Style Koubou A life in a tree slowly growing from a nursery is not captivated by the times, and it moves with the people and vice versa.  © Ryoo, In Keun  This posting includes an audio/video/photo media file: Download Now |
| Pangyo J Residence / Kim Seunghoy (Seoul National University) + KYWC Architects Posted: 29 Mar 2018 01:00 PM PDT  © Kim Jaekyung
 © Kim Jaekyung Text description provided by the architects. Built for a family and their cat, Pangyo J Residence takes advantage of the natural slope of the small site. A small front yard is secured using the slope so that the family can enjoy it from the living room. The terrace on the higher side is finished with flat stones to allow various activities extending from the kitchen and the dining room. The differences in the level bestow a unique function and characteristic to each of the two gardens.  © Kim Jaekyung The slope of the site is reflected in the interior space, creating level changes within the ground floor. This becomes a natural playground for the cat, the feline mischievous family member. On the second floor, the subtle arch of the bedroom and the slanted ceiling of the reading room contrast one another.  © Kim Jaekyung  Ground Floor Plan  © Kim Jaekyung The sectional changes in each space form the distinct mass of the house that mirrors its inhabitant: the cat. Pangyo J Residence faces the street from only one orientation. The exterior of the city is finished with a charcoal gray steel plate to accentuate its function as the facade. The thinness of the extruded louver adds to the depth of the facade.  © Kim Jaekyung  Section Perspective  © Kim Jaekyung  This posting includes an audio/video/photo media file: Download Now |
| Kondo Museum / Mamiya Shinichi Design Studio Posted: 29 Mar 2018 12:00 PM PDT  © Yasuko Okamura
 © Yasuko Okamura Text description provided by the architects. KONDO MUSEUM, situated near the main gate of Kyoto's Kiyomizu-dera Temple, by the Chawan-zaka approach to the temple. It is believed that the ancient city of Kyoto is guarded by four mythological creatures in four separate quarters. The area surrounding the temple is called Higashiyama district. This eastern region of Kyoto has long been known as a holy place of pristine water under the reign of Seiryu, the azure dragon and guardian of the city's east. In this sacred area, a traditional local craft, known as Kiyomizu ceramics has continued to evolve since the Edo period. This museum was originally established in commemoration of Yuzo Kondo, the renowned master of Kiyomizu ceramics. Our project was to refurbish this memorial museum.  © Hiroshi Tanigawa  Floor Plan  © Hiroshi Tanigawa The memorial museum was reborn as KONDO MUSEUM, featuring several major ceramic works crafted by Yuzo Kondo, Living National Treasure in the field of blue and white ceramics. Aside from Yuzo's works, KONDO MUSEUM features the work of three of his descendants: his eldest son Yutaka Kondo, his second son Jun Kondo, and his grandson Takahiro Kondo, who also receives international acclaim for his artwork.  © Yasuko Okamura This museum comprises four sections as follows:  © Hiroshi Tanigawa • Yuzo's original workshop built in 1924, in which his valued materials are preserved. A variety of sake cups that he crafted for pleasure are also exhibited.  © Yasuko Okamura The interior atmosphere of the museum is produced using various tints of dark gray and dim lighting. On the walls, ceiling, and floor, the feel of each material, such as bamboo, stone, traditional Japanese paper, and plaster is effectively accentuated. In addition to displaying each work, we aimed to create a space to experience these art pieces in the context of local history and culture.  © Hiroshi Tanigawa  © Hiroshi Tanigawa  © Hiroshi Tanigawa The main feature of the museum is the flat artwork with a width of over seven meters, created by Takahiro Kondo using his signature technique, silver mist over-glaze. This striking art piece stands out in this dimly lit place, producing the feel and shimmer of water, with its strong cultural ties to Kiyomizu. The ability to express the characteristics of water in this world of ceramics makes this an extraordinary museum experience. We hope that this museum will become a new attraction among the bustle of the Chawan-zaka approach as well as a landmark in the culture of ceramics.  © Yasuko Okamura  This posting includes an audio/video/photo media file: Download Now |
| Posted: 29 Mar 2018 11:00 AM PDT  Anthropometric Data - Crane Cabin Operator vs Remote Control Operator. Drawing by Het Nieuwe Instituut 2017. Image Courtesy of Het Nieuwe Instituut As part of our 2018 Venice Architecture Biennale coverage we present the proposal for the Dutch Pavilion. Below, the participants describe their contribution in their own words. Het Nieuwe Instituut, the Netherland's leading museum and scholarly institution focused on architecture, design and digital culture, will present WORK, BODY, LEISURE, the Dutch exhibition for "FREESPACE", the 16th International Architecture Exhibition of La Biennale di Venezia. Commissioned by Het Nieuwe Instituut and curated by architect and researcher Marina Otero Verzier, the 2018 Dutch Pavilion exhibition addresses the spatial configurations, living conditions and notions of the human body provoked by disruptive changes in contemporary labor ethos and conditions. The project seeks to foster new modes of creativity and responsibility within the architectural field in response to emerging technologies of automation. FROM NEW BABYLON TO ROTTERDAM HARBOR The Netherlands has a rich history of investigating labor and the potential for it to be reimagined. As a point of departure, the Dutch architect and artist Constant Nieuwenhuys' explored an architectural paradigm of free space and leisure afforded by automation in New Babylon (1956–74). Nieuwenhuys envisioned a society that devotes its energy to creativity and play, and individuals can design their own environments. In a 1980 lecture, Nieuwenhuys declared, "automation is a material condition and achievable." More than thirty years later, an architecture of full automation is being implemented in the city of Rotterdam, from the self-managed logistical infrastructures of the port to the logic and relations that define the physical and social landscape of the city, and across agricultural clusters in the Netherlands. Reflecting on a spectrum of theoretical viewpoints, including Nieuwenhuys' initial proposal in New Babylon for a leisure-oriented society liberated from the bondage of labor; the recent techno-optimistic premise that full automation will bring increasing bounty and luxury; and the dystopian forecast of rampant, machine-abetted human unemployment and inequality, WORK, BODY, LEISURE posits that these visions are already shaping contemporary labor structures and, ultimately, our capacity to redesign them according to a different set of ethical principles. WORK, BODY, LESIURE builds upon Automated Landscapes, a long-term collaborative research initiative on the implications of automation for the built environment, launched by Het Nieuwe Instituut in 2017. Curator Marina Otero Verzier has invited a group of architects, designers, historians and theorists, whose work is a reference for a critical understanding of emerging technologies of automation, and their spatial implications. Each of the contributors will conceive an intervention as part of the collective exhibition and will be in dialogue with the projects developed as part of the extended program. Curator and radio host Amal Alhaag in collaboration with The Research Center for Material Culture (RCMC), addresses technologies of the body and how these are informed by the concept of the cyborg, enslaved and ethnographic body. Architectural historian and theorist Beatriz Colomina re-examines the bed as a unique horizontal architecture in the age of social media, and will look at its use as a workspace that transforms labor. Architects and researchers Marten Kuijpers and Victor Muñoz Sanz explore the architecture of full automation in the city of Rotterdam and across agricultural clusters in the Netherlands, jointly with Het Nieuwe Instituut and TU Delft. Designer and researcher Simone C. Niquille unravels the parameters embedded in design software shaping contemporary work spaces and bodies optimised for efficiency, ergonomics and human/machine interactions. Finally, architecture historian and theorist Mark Wigley, revisits New Babylon and discuss its proposal for an alternate architecture and an alternate society in which human labor is rendered superfluous.  Courtesy of Het Nieuwe Instituut  This posting includes an audio/video/photo media file: Download Now |
| Posted: 29 Mar 2018 10:00 AM PDT .jpg?1522251576 "© Warren Reed and Leo Edwards") © Warren Reed and Leo Edwards
.jpg?1522251614 "© Warren Reed and Leo Edwards") © Warren Reed and Leo Edwards Text description provided by the architects. The CORE home aims to change the way we think about affordable sustainable housing. Specifically designed for the Australian climate, the stylish, low maintenance and compact three-bedroom design can be adapted for energy ratings from 6 to 10-star to suit a range of budgets. .jpg?1522251430 "© Warren Reed and Leo Edwards") © Warren Reed and Leo Edwards CORE is a collaboration between a team of dedicated building designers and thermal performance professionals who are passionate about sustainability. Our aim is to develop homes for the Australian housing market, balancing optimal energy efficiency, material sustainability and affordability. .jpg?1522251602 "© Warren Reed and Leo Edwards") © Warren Reed and Leo Edwards Our key principles are contained in the CORE acronym: Carbon Positive A carbon positive home uses renewable energy sources to generate enough clean energy for the home's operational needs and a surplus to feed back to the grid. The CORE 9 will pay the home owners $90 year to operate rather than cost in energy bills. .jpg?1522251687 "© Warren Reed and Leo Edwards") © Warren Reed and Leo Edwards 0 Zero Waste Our objective is to work towards zero waste by adapting designs to use standard material lengths to minimise off-cuts. Selection of materials which are recycled or have the ability to be up-cycled also avoids construction waste contributing to landfill. .jpg?1522251461 "© Warren Reed and Leo Edwards") © Warren Reed and Leo Edwards Recyclability Our selection of materials has been influenced by the ability of each component to be manufactured with recycled content to reduce raw material extract, with the ability to be recycled, up-cycled or re-processed after use. Economics Our goal is to provide affordable homes to the Australian housing market that balance energy efficient design, optimal thermal performance and operational efficiencies to reduce the cost of running CORE homes. .jpg?1522251310 "© Warren Reed and Leo Edwards") © Warren Reed and Leo Edwards We believe sustainability and affordability shouldn't be mutually exclusive goals. The CORE home range has been designed to be adapted to multiple energy rating levels and price ranges. .jpg?1522251513 "© Warren Reed and Leo Edwards") © Warren Reed and Leo Edwards With the rising cost of energy and the need to conserve our precious resources, a sustainable home is becoming a highly desirable and more economical option long term. To respond to this challenge and demonstrate how this can be achieved the CORE 9 prototype has been built at The Cape. .jpg?1522251549 "© Warren Reed and Leo Edwards") © Warren Reed and Leo Edwards THE CORE 9 integrates sustainable materials with a low embodied energy, and a considered mix of solar power, solar hot water, and rain water harvesting, to reduce and or totally eliminate household utility bills. .jpg?1522251337 "© Warren Reed and Leo Edwards") © Warren Reed and Leo Edwards We firmly believe good design principles should be available to everyone who wants to build their own home, regardless of budget. To this end, we created a construction scale allowing the building to be adapted to any star rating between 6 and 10-star. .jpg?1522251660 "Floor Plan") Floor Plan We also set out to design a house suitable for the modern family, with three bedrooms, two bathrooms and opening plan living areas. The design was adapted to increase the northern light and maximise cross ventilation. Through constant refinement we eliminated wasted space (such as hallways and entrance areas) reducing construction costs as well as heating and cooling loads. .jpg?1522251352 "© Warren Reed and Leo Edwards") © Warren Reed and Leo Edwards By using environmentally friendly building products, we've reduced the impact of the construction on the environment. In some homes the products used to achieve the high star rating have a detrimental impact on the environment. But in the CORE home, regardless of the star rating, the products specified are environmentally friendly. Construction materials were also selected to ensure minimal maintenance and longevity. .jpg?1522251233 "© Warren Reed and Leo Edwards") © Warren Reed and Leo Edwards To keep costs as low as possible, we employed standard construction methods, but used them in a different way to increase their performance. For example, the use of the inverted roof truss allows more light into the building but doesn't require any specialist construction methods or additional costs. .jpg?1522251369 "© Warren Reed and Leo Edwards") © Warren Reed and Leo Edwards In the course of our research into the cost and the energy efficiency of the design, we discovered we'd created a formula for sustainable design – through a volumetric (or isometric) scale to the house. There is a ratio for the width and length of the build and a separate ratio for the width and height. The area for cladding around the external walls was equal to the floor area and by keeping to this ratio, we achieved extremely high energy efficiency. We are continuing to work on the formula for this ratio and hope that it will one day become a standard reference for builders and designers.  This posting includes an audio/video/photo media file: Download Now |
| El Establo / [Plup!] Studio Costa Rica Posted: 29 Mar 2018 08:00 AM PDT  © Roberto d´Ambrosio S.
 © Roberto d´Ambrosio S. Text description provided by the architects. Located in a rural area in the outskirts of San Jose, is [El Establo]. A project that was thought to have a very honest relationship with both its natural and constructed context. The concept of the project stems from the structures for the stables, very common in the area that regularly has horse’s establishments.  © Roberto d´Ambrosio S. A relatively warm zone throughout the year motivated us to implement climate conditioning strategies such as long overhangs and cross ventilation, typical of tropical architecture. The area, although it is 20 km from San Jose, has conditions closer to the dry tropical forest.  Floor Plan Conceptually, the project is inhabited between bays. The repetition of these bays is what promotes dwelling and its habitability becomes from the space in between. It was given particular importance that this habitability had a very strong relationship with the outside, the house is designed so that the border between the outside and the inside is lost once it opens.  © Roberto d´Ambrosio S. The concept was built with affordable materials and easy acquisition, to achieve a project high in cost benefit and accessible to the owners. The prefabrication of the bays for their eventual installation, generated that the constructive process was relatively fast, representing significant savings. Also, the materials were handled honestly, with local labor, and without makeup.  Section  Isometric Neighbors warned that in the rainy season the property suffers from small accumulations of rainwater that emerges from the earth, so the project was thought light weighted, on piles that became floor, wall and ceiling in a single intention in shape of bays.  © Roberto d´Ambrosio S. However, after saying all of the above, the most important thing for us as architects of the project is not the project as such, but rather that it reflects its owners, people with a big heart, simple and honest. If the project at the end of the process made them feel identified, we as architects feel successful. More than customers, they have become our friends and have invited us to the process of maturation and use of their built space.  This posting includes an audio/video/photo media file: Download Now |
| Let Us Celebrate the Women who are Shaping Architectural Practices Around the World Posted: 29 Mar 2018 07:30 AM PDT  "Where are the women architects?" Despina Stratigakos, an architectural historian and professor, lamented in her book about women in the practice. (She even titled her book that very question.) The sentiment was certainly a resounding one, well-understood by many women who have worked in the profession and had to break through a male citadel. We know the number of women in architecture is small, and it gets smaller the higher up we look. Which is why we wanted to recognize the women who are at the top, leading practices, and paving the way. To celebrate International Women's Day this month, we launched an open call to recognize women who run their own firms all around the world. And if their projects had never been published by us before, we were going to give them the spotlight. What we found were an incredible group of women who impressed us with their designs, their work ethic, and their dedication towards the profession. Not only do these women design and build, but they lead teams, manage offices, and eventually took the leap to be their own bosses and do things their own way. 1. Ânia Gabriel Abrantesfirm: Ânia Gabriel Abrantes arquitectura | Aveiro, Portugal  Courtesy of Ânia Gabriel Abrantes arquitectura Ânia bases her practice on this principle: each project is understood as a singular case. This philosophy seeks to integrate art and architecture with an obligatory web of relations between the project, the work, the site, the framework, the program, limitations and, ultimately, the users. 2. Husna Rahamanfirm: Fulcrum studio | Bangalore, India  Courtesy of Fulcrum studio We are adventurers, discoverers and rambunctious playmates. This joy and calm comes through the lines we draft, the dreams that we weave and the zeal with which we stake our claim to reality - the finished project. 3. Roxana Mendozafirm: Agave Arquitectos | Hermosillo, Mexico  Courtesy of Agave Arquitectos I see my work as a daily mission to accomplish basic human needs. Architecture is an opportunity to transform cities and I am empowered to do so. I, as architect, am the conscious of the city. I have the ability to tell people what is good and bad, what will be a temporary satisfaction or an everlasting pleasure. Architecture is magic, it defines our behavior. Cities don't live through people, they live through architecture. People come and go, good architecture stays forever. 4. Hulda Jónsdóttirfirm: Huldajons | Copenhagen, Denmark  Courtesy of Huldajons I work on residential architecture in Iceland. I built my first house for a client in 2016 all by myself. Two years later I am still independent and have been designing and drawing houses for independent clients in Iceland as well as working in collaborations with architect forums. I focus on designing a sanctuary for the client, so I work in close collaboration with the client to find the best solution to his wishes. At the same time, I think about how to make the design practical, timeless and fun. 5. Georgia Lobo and Anita Freirefirm: Oficina D.A. | São Paulo, Brazil  Courtesy of Oficina D.A. Oficina D.A. is a firm formed by architects Anita Freire and Georgia Lobo. They works on several fronts: architecture projects, urban studies, furniture and photography. Both graduated in 2008 from Escola da Cidade and worked until 2011 at SIAA, a São Paulo-based office. From 2011 to 2013, Anita worked in the company Diagonal, coordinating Integrated Diagnostics in socioeconomics and territorial research. From 2009 to 2013, Georgia worked on the Museum of History of São Paulo together with architect Pedro Mendes da Rocha. 6. Ursula Emery McClurefirm: emerymcclure architecture, llc. | Lafayette, LA, United States  Courtesy of emerymcclure architecture, llc. Our research practice speculates on the role of design in the confluence of multiple, seemingly contrary systems and aspires to develop tectonics that configure their futures. Our sites are never grounded, our conditions are never predictable, and our parameters are always in flux; they exist at the edges and transformational zones. Our practice searches to define potentialities found within complex systems and to contribute to the rich and unique global traditions where sociocultural and physical contexts are entrenched in architecture. 7. Nathalie Eldanfirm: NEA | Paris, France  Courtesy of NEA NEA is a Paris-based international studio for architecture, research and urban strategies. NEA operates on the entire spectrum of architecture from building and urban design to city interventions, research and publications, developing projects with an ethical approach to territory, society and environment. 8. Débora Vieira Mendes de Oliveirafirm: Tetro Arquitetura | Belo Horizonte, Brazil  Courtesy of Tetro Arquitetura Based in Belo Horizonte, Débora graduated from the Federal Univsersity of Minas Gerais in 2005 and is a partner at the firm Tetro Arquitetura. Working in architecture, interior design and landscaping projects, she seeks a practice that responds to the current demands of the society, that explores diverse constructive methods, and, creates unusual interactions with the natural or constructed environment. 9. Mariana Pereyrafirm: 20 metros cuadrados | Montevideo, Uruguay  Courtesy of 20 metros cuadrados Mariana Pereyra was born in Montevideo, Uruguay and is an architect from University De La República (2009). In 2011 she formed, together with the architect Javier Tournier, the studio "20 square meters" that specializes in the design of layouts for shows. Her work involves the production of events, assembly schedules, design of technical solutions and design of stages, backstages and dressing rooms, among other tasks. 10. Marina Panzoldo Canhadasfirm: Marina Canhadas | São Paulo, Brazil  Courtesy of Marina Canhadas Architect, researcher and teacher, Marina is currently working on authoral projects and collaborates freely with other architects and artists. She is constantly moving between the scale of architecture and object and works within the contexts of Latin American metropolises of São Paulo and Mexico City. She bases her practice both in theoretical and experimental approaches. 11. Marina Villelabeitiafirm: estudio 3S LAB | Rada Tilly, Argentina  Courtesy of estudio 3S LAB Marina Villelabeitia is an Architect and Cultural Manager from FADU/ UBA. She works independently in Buenos Aires and Patagonia, investigating landscape-identity-culture correspondences through explorations that draw on different disciplines. Her series called MUNDO PETROLEO has been selected for the Argentinean exhibition at the Venice Bienniale, within the framework of the exhibition larger VERTIGO HORIZONTAL, which won the national contest for proposals organized by the Chancellery. 12. Ludmila Castro y Estefanía Grandalfirm: Encaixe Arquitectura | O Porriño, Pontevedra, Spain  Courtesy of Encaixe Arquitectura Estefanía Grandal Leirós (Architect ETSAC 2012) and Lyudmila Castro Fiorito (Architect Escola Superior Gallaecia 2016) are partners in Encaixe Arquitectura, a small studio founded in 2015 and established in O Porriño, Spain. Their vocation is to help people design spaces with life that respond to the needs of users, by enhancing the material and spatial qualities to create unique places with personality. 13. Beatriz Marquesfirm: Sabiá Arquitetos | São Paulo, Brazil  Courtesy of Sabiá Arquitetos From furniture and interior design to buildings and public spaces, Beatriz and her firm Sabiá Arquitetos are open to collaborations with professionals from different disciplines, aiming to expand their own field of activity. Through a careful analysis of each project's specificities they hope to provide solutions in a clear and sustainable way, with maximum use of available material and social resources.
We're proud to share the brilliant work of these women. They've become set designers, landscape designers, researchers, and architects for all sorts of buildings from residential houses to museums - and bosses! Cheers to them! And to the women out there who are contemplating starting a firm, may this list serve as inspiration. In a profession that is highly skewed towards men, we're glad that these women are paving the way for a new generation of leaders to come.  This posting includes an audio/video/photo media file: Download Now |
| Laurian Ghinitoiu Captures Dreamlike Nature of Junya Ishigami's Work at Fondation Cartier in Paris Posted: 29 Mar 2018 06:34 AM PDT  © Laurian Ghinitoiu From March 30 to June 10, 2018, the Fondation Cartier pour l'art contemporain will host Junya Ishigami's exhibition, Freeing Architecture. This is the first major solo exhibition that the Fondation Cartier in Paris has devoted to an architect, and fitting that it would lend itself to an important and singular figure of Japan's young architecture scene. Ishigami - winner of the Golden Lion award at the Venice Biennale in 2010 - has instilled this conceptual body of work with his trademark flair: calm, free fluidity, with bright tones and playful curves. The projects in the exhibition range from large scale models to films and drawings, and when placed in the context of the exhibition, they bring to life Jean Nouvel's iconic building as well. Laurian Ghinitoiu gives us a glimpse inside the exhibition ahead of the opening day tomorrow. His photos reveal the lightness and ethereal quality of Ishigami's hand. Ishigami says his work treads the space between the natural world of landscapes, clouds and forests, and the dream world. To him, there is but a superfluous boundary between the external and interior environment, between landscape design and architecture. The most important element is sensitivity, which he elevates to the rank of virtue.  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu Ishigami, born in Kanagawa Prefecture in 1974, belongs to a younger generation of Japanese architects who have followed in the path of Toyo Ito and Kazuyo Sejima in the 2000s. Their prominence has even led the Museum of Modern Art in New York to devote a large exhibition to their work. Ishigami was educated at Tokyo University of Arts and worked as an architect at SANAA before founding junya.ishigami+associates in 2004.  © Laurian Ghinitoiu Ishigami's other notable projects include the Kanagawa Institute of Technology Workshop in Japan in 2008, the renovation of Moscow Polytechnic Museum into a museum park in 2010, and the design of the cloud-shaped House of Peace in Copenhagen in 2014, which now rests on the sea as a symbol of peace. The exhibition includes children's gardens, a chapel, a museum, a landscaped park, a house-restaurant, a garden house, a monument, and an urban sculpture. The variety of constructions presented in the exhibition Freeing Architecture serves to reveal the richness and complexity of a flexible body of work, which is constantly reinvented.  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu In the open spaces of the Fondation Cartier, sans partitions, the interplay of small and large-scale models, immense collages and drawings, create an atmosphere that is at once solemn, dreamlike, playful, and calm.  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu  This posting includes an audio/video/photo media file: Download Now |
| Orchid Educational Pavilion / FGP Atelier Posted: 29 Mar 2018 06:00 AM PDT  Courtesy of FGP Atelier
 Courtesy of FGP Atelier Text description provided by the architects. The Orchid Educational Pavilion is located in the Ethnobotanical Gardens in Oaxaca, Mexico within the walls of the Church and former Monastery Santo Domingo de Guzman (1572-1666). It sits within one of the most biologically diverse ecologies in the world and as part of an ensemble of cultural experiences. Mexican Artists Francisco Toledo and Luis Zárate and the Anthropologist and Biologist, Alejandro de Avila began creating the cultural ensemble that would become the Botanical Gardens of Santo Domingo in the summer of 1994. They hoped to crown their achievement with a pavilion for growing diverse species, conducting experiments, and teaching the community.  Plan The Orchid Educational Pavilion is intended to support the conditions for growing diverse species through sustainable systems (zero energy) while being a minimally invasive building. It is designed as an interactive tool to educate future generations in the vastness of the biodiversity of the region and inspire broader implantation of sustainable architecture. The small amount of energy it needs for its passive cooling and irrigation systems is provided by remote solar panels and a geothermal system. At the same time, modular units allow the structure to be extended, dismantled, or moved entirely if necessary.  Courtesy of FGP Atelier The Pavilion provides a unique experience within the Botanical Gardens through its materiality and the way that it frames its context. An entirely self-sustaining ecosystem, it challenges visitors to consider how they might live in a more sustainable manner as well as to reflect on what is required to sustain the life of delicate species and that might be required to sustain our own delicate existence in the future.  Courtesy of FGP Atelier  Elevation + Sections  Courtesy of FGP Atelier The idea of total transparency was critical in the design. The flooring planks for the staircase and the viewing platform are an open grid to allow light and views from all directions into the chambers. Its design is based on five elements: the west chamber (hot chamber), the east chamber (cool chamber), the central staircase (which collects rainfall), the viewing platform, and the geothermal system. The east and west chambers are rectangular glass boxes oriented on the north-south axis to provoke natural cross ventilation. They are located on either side of the central staircase and designed to run on very different thermal criteria.  Courtesy of FGP Atelier The conditioning is provided through a geothermal system that injects cold air into the chambers from the underground soil via 2 air-handling units that are powered by solar panels. The central staircase brings the visitors through the chambers up to the viewing platform from where stunning views into the church and the botanical gardens can be experienced as well an opportunity to contemplate the curated plant content from an elevated perspective. Underneath the staircase, rainfall is collected and stored to be used by the evaporative cooling system that supports the cooling and irrigation systems. In addition, the majority of the building has been hand-crafted, manufactured and assembled on site by artisans from Oaxaca.  Courtesy of FGP Atelier  This posting includes an audio/video/photo media file: Download Now |
| Madison Square Garden Unveils Images of Spherical Events Venue in London Posted: 29 Mar 2018 05:00 AM PDT  Courtesy of The Madison Square Garden Company The Madison Square Garden Company has unveiled images of its proposed MSG Sphere in London, a next-generation venue seeking to "redefine live entertainment" through an array of technology geared towards transformative, immersive connections between artists and audiences. To accompany the London scheme, an MSG Sphere will also be located in Las Vegas. Both are to be designed by Populous, the Kansas City-based firm responsible for a large number of stadia and arenas across the globe.  Courtesy of The Madison Square Garden Company  Courtesy of The Madison Square Garden Company When completed, the London MSG Sphere scheme is expected to have a scalable capacity of 18,000 seats. Within the distinctive domed form of MSG Spheres, the scheme will feature cutting-edge technology including an "interior bowl" featuring the world's largest and highest resolution media display, an adaptive acoustics system, and next-generation wireless connectivity.  Courtesy of The Madison Square Garden Company  Courtesy of The Madison Square Garden Company The MSG Sphere will be located in the East London district of Stratford beside the Westfield Shopping Center, which sees 45 million annual visitors. In close proximity to the park which hosted the 2012 Olympic Games, the planned venue will sit alongside the new Victoria and Albert Museum (V&A), and University College London (UCL).  Courtesy of The Madison Square Garden Company  Courtesy of The Madison Square Garden Company The MSG Sphere is expected to be submitted for planning by the end of 2018. News via: The Madison Square Garden Company
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| House 007 / Lineastudio Arquiteturas Posted: 29 Mar 2018 04:00 AM PDT  © Cristiano Bauce
 © Cristiano Bauce Text description provided by the architects. Overlooking the hills that surround the city of Santa Maria, the residence of contemporary character explores the materiality and takes advantage of visuals and the solar orientation. The plants of the floors are functional with large rooms that open outwards, ensuring maximum use of natural lighting and ventilation.  © Cristiano Bauce The full integration between the internal and external spaces is the highlight of the project, which features minimalist furniture design and sober color palette. These elements dialogue with each other giving a cohesive result and reinforces the proposed language.  Section C The apparent concrete and the transparency of the glass add elegance to the careful composition of juxtaposed volumes. The access door is protected by the volume balance of the second floor.  © Cristiano Bauce The volumetry of the frontage facing the garden is a continuation of the composition that happens in the frontage, that is, the apparent concrete box that forms the second floor is resting on the ground floor. The project offers as a point of compositional tension the great balance of the second floor that creates the atmosphere of the balcony.  © Cristiano Bauce Integration – the large social room, composed of living and dining environments, can be integrated with the kitchen, with the gourmet space or toy library, through the opening of large sliding doors. The gourmet space includes an area with barbecue grill and living room and opens onto the pool garden.  © Cristiano Bauce  Ground floor plan  © Cristiano Bauce Designed specifically for the child, the toy library demonstrates her personality and has a shelf with space for toys and books. The custom woodworking, made of pine blade with colored niches, is illuminated to highlight objects. The TV background extends up to the lining which features inlaid minileds lightning resulting in starry sky effect, contributing to make the environment even more playful. The carpet pied-de-poule, from Emporio makes the base for futons.  © Cristiano Bauce In the couple's suite, the highlight is the slatted panel in blond beige wood that lines the entire wall and divides the environments of the dormitory and the bath. A fixed glass integrates the suite with the hot tub. In composition details, Terni leather rug, from Salvatore and Alvorada balcony armchair, from the designer Carlos Motta, to enjoy the privileged view of the hills that surround the city of Santa Maria.  © Cristiano Bauce In the daughter's suite, the color palette features white base and romantic wallpaper lining all the walls. The vertical element leaked shelters the TV, and contemplates closed and open niches, organizing the sleeping and dressing spaces. Upholstered headboard and set of bedspread and pillows in the shades of pistachio green make up harmoniously with the gradient pink of the bathroom furniture and details, like the classic mirror and the drawers in the space for makeup. The pendant on the side of the bed is the Rodes, Bertolucci.  © Cristiano Bauce In the pool garden, the species chosen follow the tropicality of the frontal garden. Imperial Palms and Phoenix Palm Trees appear around the pool. One ÁcerPalmatum stands out next to the balcony and, in the concrete vases, appear Patas-de-Elefante and a Jabuticabeira. The pool was lined with Hijau natural stone and in the surrounding cement floor Solarium and wooden deck.  © Cristiano Bauce  This posting includes an audio/video/photo media file: Download Now |
| How Carol Ross Barney Became the Most Important Urban Advocate in Chicago Since Daniel Burnham Posted: 29 Mar 2018 02:30 AM PDT  © Kate Joyce Studios This article was originally published by Metropolis Magazine as "Carol Ross Barney is Chicago's New Daniel Burnham." As a lifelong Chicagoan, Carol Ross Barney has seen the Chicago River transition from an effluent-filled cargo highway to a vibrant recreational spot, one where her grandsons go fishing. "They can throw their line in and pull out two- to three-inch fish immediately," she says. It has even become a habitat for otters. As for people, the river has become an alternative commuting path: Some kayak to work. In many ways, these historically polluted stretches of Chicago now form a corridor offering a rich range of experiences and visitors. This dramatic reversal is thanks in no small part to the Chicago Riverwalk, which might be Ross Barney's career-defining project. "The attitude of the people toward the river is really changing, and I think that's the biggest story," she says.
 The last stretch of the Riverwalk opened in 2016, nearly seven years after the opening of the first component (also designed by Ross Barney). Here, Ross Barney stands amid flora planted on the Cove section of the Riverwalk, which acts as a kayak launch. She likens the space—one in a chain of similar spaces—to an urban room. Image © Whitten Sabbatini The product of more than ten years of planning and design, the Riverwalk has had many champions, but none have been as consistent as Ross Barney. In her advocacy, she has gone through her own identity shift, from an architect of buildings to an urbanist to an ecological steward of Chicago's history-defining yet oft-forgotten waterway. The river has "taken over our practice," says Ross Barney. "I see my role as being a storyteller, a catalyst, to make people think in the same directions." She began studying the river in 2001, but strategies for what to do with the Second City's second waterfront reach back much further. In his famed 1909 Plan of Chicago, Daniel Burnham suggested an orderly, dual-level promenade. Chicago's small, marshy river was the key link between the Great Lakes and the Mississippi River watershed. As countless raw materials for the conquest of a continent piled up on the Chicago River's shores, the next step was to build a great city that could begin manufacturing things with them. It was a legacy based not on access to exceptional natural resources, but on exceptional access to transit.  Transit forms a large part of Ross Barney's work. Her firm, Ross Barney Architects, maintains a long-standing partnership with the Chicago Transit Authority and, in that capacity, has designed three stations for the "L." The CTA Cermak-McCormick Place station was completed in 2015. Image © Whitten Sabbatini Ross Barney's long career in Chicago—capped off by a 2017 AIA Chicago Lifetime Achievement Award—is almost entirely made up of public works. She thrives on solving knotty, seemingly prosaic infrastructural problems, with a special emphasis on transit. Her consolidated car rental facility at O'Hare Airport (currently under construction) will be a massive 4.5-million-square-foot multimodal hub with two 60-foot-wide courtyard forests on its roof. Costing $782 million, it will be used by 30,000 people a day in a whirl of cars, rail lines, buses, and air traffic at one of the nation's largest airports. Ross Barney's long-standing relationship with the Chicago Transit Authority (CTA) has delivered the system's best contemporary stations and renovations. Her 2010 Fullerton and Belmont station upgrades established a basic material palette of stainless steel and translucent canopies that she has since refined into more dramatic and expressive directions. The Cermak-McCormick Place station (which serves Chicago's convention center) is a monumental tunnel of perforated steel, while her Morgan Street station in the trendy West Loop artfully boxes all manner of scrims and steel supports in glass. With this transit work, Ross Barney has shown a knack for designing and understanding the complexities of infrastructure. She also played a critical role in the planning and development of Chicago's elevated rail park, the 606, which was uniquely funded as a transit landscape for bike commuters. From this perspective, her engagement with the river is a natural progression. Infrastructural systems encompass buildings and landscapes, and with the Riverwalk, Ross Barney's practice does too.  Transit forms a large part of Ross Barney's work. Her firm, Ross Barney Architects, maintains a long-standing partnership with the Chicago Transit Authority and, in that capacity, has designed three stations for the "L." The Morgan Street station, pictured here, opened in 2012. The plan for the Riverwalk's second and third phases came out of an intensive collaboration with the landscape architects at Sasaki. As with much of Ross Barney's infrastructural table-setting, "there weren't a lot of boundaries for what was architecture and what was landscape architecture," says Gina Ford, principal and landscape architect at Sasaki. In 2009, Ross Barney completed the first section of the 1.25-mile-long Riverwalk, which connects the northeast reaches of the Loop to the Lake Street Bridge. Subsequent extensions were conceived as independent urban rooms separated by Chicago's iconic bascule bridges. For its second phase, Ross Barney and Sasaki designed the River Theater section, a handsome rise of terraced stair seating with diagonal pedestrian ramps. They also added several other elements: The Water Plaza is a joyous zero-depth water feature with spray that leaps and burbles, while the reflective metal canopies under the bridges have turned them into some of the city's premier selfie spots. At the Marina Plaza, food and drink vendors have an easy time enticing joggers and strollers to stop and sip awhile, and the Cove serves as a kayak launch. The last piece in the puzzle, the Jetty, opened last year and was conceived as a place for fish as much as for people. Habitat lattices offer spots for aquatic flora and fauna to latch onto, and piers are supported by columns drilled with holes to attract fish. Docks reach out toward floating planting beds, tempting fisherwomen to linger as well. It's the Riverwalk's most direct invitation to get close to the water.  A major component of the plan is to reclaim stretches of river lost to the effects of industrialization for the use of communities located far away from the Loop. Ross Barney's landscape designs for the project were included in the recent Chicago Urban River Edge Ideas Lab exhibition. Image Courtesy of Ross Barney Architects Cultivating a closer relationship to the river through a riverside network of parks is one step toward helping Chicago address its water quality issues. Decades of industrial use took a toll on the Chicago River, as has its antiquated combined sewage and stormwater system, which dumps waste into the river when the storm sewers are overwhelmed by heavy rain. (The website Is There Sewage in the Chicago River unsparingly tracks these instances. In the past ten years, sewage has been dumped into Chicago-area rivers on 640 days.) This pollution took the river to the brink. In the 1970s, there were only a handful of species of fish living there, their habitats largely destroyed by the concrete channelization of the river. It was functionally dead. Today, thanks to improved sewage treatment facilities and restored habitats, there are more than 75 species. A healthy river network can also ease inequality in a very unequal city, by providing access to recreation and green space through vast swaths of Chicago that desperately need it. "It's one of the systems that can actually change the face of the city," says Ross Barney. "It's a move toward social justice." And a move that needn't stop at the city limits. Ross Barney's Great Rivers project (initiated with help from the city, the Friends of the Chicago River, and the nonprofit Metropolitan Planning Council) sets goals and timelines for transforming 150-plus miles of riverfront across Chicagoland's three rivers: Chicago, Calumet, and Des Plaines. It's a wholesale restoration program for an entire urban ecosystem that promises to make it habitable and useful for people and wildlife. Throughout, it intertwines human infrastructure networks with managed greenscapes in ways typical of landscape architecture's current obsession with the melding of gray and green infrastructure. This means expanding the water taxi network while simultaneously doubling the acreage of designated nature preserves. It means designing prairie trails that run under the power lines near the Calumet River on the far South Side. And it means converting industrial shipping channels to in-stream wetland parks perfect for kayaking and birdwatching. One of Ross Barney's river proposals would turn a disused shipping channel most known for its consistent stench (nearby residents have dubbed it "Ass Creek") in the Hispanic neighborhood of Little Village into a wetland park for swimmers and fishers. The name of the proposal, typifying Ross Barney's total lack of pretense about the dirty work of making cities better, is "Ass(et) Creek." From her website: "We want to convert the Collateral Channel from ass to asset."  The firm's project for Collateral Channel, in the city's Little Village neighborhood, calls for transforming a polluted, methane-emitting body of water—locally nicknamed "Ass Creek"—into a vibrant urban park. Image Courtesy of Ross Barney Architects In the Great Rivers plan, leafy suburban trails get a graphic branding upgrade, while more urban sites get denser mixed-use development. As with the Riverwalk, nature is always closer at hand, but it's never pristine or Edenic. These are working landscapes, formerly at the behest of industry, and hopefully at the behest of the public in the days ahead. The plan touches dozens of municipalities and was drawn up with the input of 6,000 people. "I wouldn't say there is anything really comparable to what we did," says Josh Ellis, vice president of the Metropolitan Planning Council. At first glance, Ross Barney's ambition for the river seems comparable to the previous decade's downtown landscape showstopper: Millennium Park, which did so much to give the city a communally accessible public plaza in sectarian Chicago. "We thought that from day one," says Margaret Frisbie, executive director of the Friends of the Chicago River.  Ross Barney's vision isn't limited to Chicago's central core, but expands much farther into the heart of Chicagoland. She has been integral to the Great Rivers project, a city initiative described as the "first unifying and forward-looking vision and action agenda for Chicago's three rivers: the Calumet River, Chicago River and Des Plaines River". Image Courtesy of Ross Barney Architects But according to Ellis, the most applicable comparison here is Burnham's lakefront. Ross Barney's tenacity has opened up a rare and enviable opportunity among architects. Here she is playing a distinct role in the conception and execution of a truly huge urban project. Like Burnham, Ross Barney's work has helped bend public policy and regulations to her will. The Riverwalk required an act of Congress to complete, and today 30 feet of public right-of-way is mandatory for development along the river. This level of civic engagement can create a self-reinforcing feedback loop, as appreciation for the river breeds a new awareness among Chicago's citizenry. Says Ellis, "That can manifest itself at the ballot box, through spending, through volunteerism, through support for stronger environmental standards." And that is likely to be Ross Barney's greatest legacy. "She's a genius," says Frisbie. "She brings people with her, which I think is a reflection of Burnham." Carol Ross Barney is one of Metropolis's 2018 Game Changers—read about the others here.  This posting includes an audio/video/photo media file: Download Now |
| NABUCO House / Pablo Gagliardo Posted: 29 Mar 2018 02:00 AM PDT  © Agustín Javier Rojas
 © Agustín Javier Rojas Text description provided by the architects. The project is located in Uruguay, Punta Piedras, on Route 10, on a gently sloping beachfront lot with abundant trees and native vegetation. The house is conceived as a large roof over a concrete mass that sinks over the natural slope of the terrain. Intuitively, public and private uses within the project are clearly distinguished.  © Agustín Javier Rojas  Floors Plans  © Agustín Javier Rojas The house is developed in three levels, organized in two large areas, the first two solid and less permeable floors contain the intimate environments and services of the house, and the transparent and totally open second floor where the extensive social life of the residents takes place. The main entrance to the house is through a winding path of natural gravel, in the middle of the vegetation and below a large eaves in double height where the vehicles are protected, and which in turn contains the pool and terrace of the upper floor.  © Agustín Javier Rojas The staircase in triple height as a backbone, articulates and concentrates the circulations, relating all the spaces and levels. In parallel, an exterior staircase connects the ground floor with the rear terrace of the last floor, linking the exterior spaces without having to go through the interior of the house.  © Agustín Javier Rojas On the lower level, half-buried, there is a great single flexible space for various uses (study, guests, temporary rent) with an independent entrance and the possibility of subdividing; it also contains service units, warehouses and machinery room. On the first level, the most intimate rooms are located, three bedrooms and three bathrooms, designed so that their divitions can be modified to adapt to the number of occupants.  © Agustín Javier Rojas The last floor takes the maximum height possible by regulation and is projected as a single large space, completely open and continuous, with an island of services where the kitchen, pantry, and toilette are located. This space expands through two large terraces, one in direct relation with the grove that occupies the bottom of the lot and contains the barbecue grill, and another that goes to the beach where the solarium and the pool with infinity edge can situated. In this way, the social area of the house is in continuous relation with the outside, with open views over the sea and in adequate connection, regarding the street and vehicular circulation  © Agustín Javier Rojas The thin inclined concrete roof, of complex structural resolution, reinforces the continuity between the interior and exterior by blurring the limits of the enclosed space, and enhancing the imposing views of the lot itself and opens up, generating height towards the sea  This posting includes an audio/video/photo media file: Download Now |
| Populous to Collaborate on Design of North America's First eSports Stadium Posted: 29 Mar 2018 01:00 AM PDT  Courtesy of Populous Last week, the City of Arlington, Texas announced plans to collaborate with Populous in transforming the city's convention center into North America's first Esports Stadium. This 100,000-square-foot venue will be designed to draw in both competitive players and fans from around the world, and create the most immersive experience in the live esports market.  Courtesy of Populous The design of the stadium will be flexible in order to house a wide variety of esports events. Not only will it feature a major competition arena, but also gaming, retail, and social spaces, VIP areas, a broadcast studio, and training areas for competing teams.  Courtesy of Populous "This esports stadium will transform the Arlington Convention Center and position the city as the epicenter for esports in the heart of North America," said Brian Mirakian, senior principal at Populous. "Esports fans will encounter a live experience unlike any other, by way of space for up to 1,000 spectators, VIP amenities and year-round event potential." "I know the gaming community across the globe is going to fall in love with this stadium and with Arlington," said Arlington Mayor Jeff Williams. "We're ready for the biggest tournaments in the esports industry to call Arlington home."  Courtesy of Populous The esports market, still in its early stages of development, is a phenomenon that shows promise to have an impact on not only the world of traditional sports but a new variation on stadium typologies as we know them. Last year, esports was valued at just under 500 million dollars, and by 2020, is projected to be a 1.5 billion dollar industry. Esports arenas are envisioned to be adaptable, programmable, and serve a multitude of events- something that traditional sports stadiums often don't have the ability to do. While stadiums typically house their home sporting events and occasional music performances, esports arenas aim to expand outside the confines of their venue by imagining the design of neighborhood areas with different buildings to support a range of crowd sizes and event types. From multi-level gaming experiences to high-performance training buildings, labs, drone racing courses, esports villages will have year-round events for the public to experience. This type of development has the ability to offer what a sports and entertainment venue aims to provide: a constant flow of spectators who can interact and experience technology in a way that drives a new brand and increases revenue and investment opportunities. News via: Populous.  This posting includes an audio/video/photo media file: Download Now |
| Inter-Generational Mixed Use Project Wins Imagine Angers Design Competition Posted: 28 Mar 2018 11:00 PM PDT AIRSTUDIO.jpg?1521515633 "© AIRSTUDIO") © AIRSTUDIO International architecture competition, Imagine Angers, asked designers to create an innovative solution for one of six sites in Angers, France. Paris-based architecture firm WY-TO and Crespy & Aumont Architectes interlaced the natural landscape with a contemporary lifestyle for all ages in their winning design, Arborescence. AIRSTUDIO.jpg?1521511163 "© AIRSTUDIO") © AIRSTUDIO Arborescence is an inter-generational mixed-use design proposal. The site, Gambetta, overlooks the Maine river bank on the edge of a historical district and new development, simultaneously. To achieve a certain level of urban biodiversity, a lush garden is encircled by a balanced variety of private and community spaces. AIRSTUDIO.jpg?1521511089 "© AIRSTUDIO") © AIRSTUDIO The program includes senior housing, 15 residential units, a childcare center, co-working spaces, and amenities. Units were designed with comfort and flexibility in mind; for potential future expansion or reconfiguration. Arborescence not only merges international influences with local culture, but would also contribute to the economy by creating new jobs, supporting startups, and promote art. AIRSTUDIO.jpg?1521515421 "© AIRSTUDIO") © AIRSTUDIO News via: WY-TO.  This posting includes an audio/video/photo media file: Download Now |
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