Arch Daily |
- House of Many-Worlds / Austigard Arkitektur
- Hof van Duivenvoorde / 70F architecture
- Lean House / Teerachai Leesuraplanon
- Nhà Của Tiến / 23o5studio
- Qingdao Wanda Victoria Bay Xifeng Bridge / PT Architecture Design
- Syncopated, Revolving Door Condo / Tomokatzu Hayakawa Architects
- Peter Cook's CRAB Studio Reveals Sunny CLT Innovation Center for the Arts University Bournemouth
- Courtyard Renovation at the White Pagoda Temple / Tsinghua University School of Architecture + maison h
- Vitória 225 / Paulo Freitas e Maria João Marques Arquitectos
- Eva Franch i Gilabert Selected as the New Director of the Architectural Association
- Frondas House / MO+G Taller de Arquitectura
- UK Announces Plans to Work with Survivors and Families to Create Memorial on Grenfell Tower Site
- Magazzino Italian Art / MQ Architecture
- Will Carbon Fiber Revolutionize Architecture as Steel Did in the 19th Century?
- Stack House / Lazor / Office
- How Acoustic Shells Work (And How to Design Them Effectively)
- How Schools in Africa Can Benefit From Clever Design and Mango Trees
| House of Many-Worlds / Austigard Arkitektur Posted: 05 Mar 2018 07:00 PM PST  © Ivan Brodey
 © Ivan Brodey Open living in deep space A large family table measuring 1.5 x 3.0 m forms the center of the apartment. This open, double-height space is dominated by the wide outlook to the treetops outside, where well accustomed squirrels and birds frequently show up. The dimensions of the table alone allow family members to do be occupied with different activities around the same table – chatting, eating, doing homework – without interfering with each other, in the same social situation.  © Kaia Brænne From this family table towards the interior, space becomes progressively intimate, with kitchen, lounge and library forming individual zones in a continuous social situation without separate rooms. Most interior surfaces are covered in black or white pigmented beech veneer.  © Ivan Brodey The loft forms the most intimate zone of the apartment. Protected by half-transparent perforated steel panels on either side, one can have a complete overview of the social situation straight below, as well as the exterior beyond that.  Section The loft is designed for sitting and lying, with a wide, multifunctional bench/bed/table and low windows. In a standing position the loft space feels confined, but in a sitting or lying position the space becomes wider, while the proximity of the roof provides a sense of comfort and intimacy.  © Ivan Brodey  This posting includes an audio/video/photo media file: Download Now |
| Hof van Duivenvoorde / 70F architecture Posted: 05 Mar 2018 06:00 PM PST  Courtesy of 70F architecture
 Courtesy of 70F architecture Text description provided by the architects. Hof van Duivenvoorde is the visitors center that belongs to Duivenvoorde Castle and Estate, a national monument in the city of Voorschoten. The Duivenvoorde foundation was the commissioner and asked 70F architecture to create a building that would look like a barn but at the same time be transparent and have a welcoming atmosphere.  Courtesy of 70F architecture The solution, with its movable facade parts, was a direct hit with the commissioner but turned out to be difficult to execute. No hatch producer or hinge supplier was up for the challenge. Bas ten Brinke, the owner of 70F architecture, therefore decided to do the engineering himself.  Courtesy of 70F architecture  Sections  Courtesy of 70F architecture Hof van Duivenvoorde inhabits a restaurant, a museum shop, and space for the volunteers who give guided tours of the castle and around the estate. The building is relatively small – 6 x 30 meters – but feels spacious because of the high transparency. You can look from one side of the building to the other. The space above the kitchen (at the far end of the building) and the sanitary unit (in the middle) are left open, thus showing the roof and its construction in its entirety.  Courtesy of 70F architecture Some of the fixed windows continue up and over the roof-ridge into the back roof plane, towards the monumental garden wall. The building is an example of modern architecture, fitting seamlessly in its 13th-century surroundings defined by the castle.  Courtesy of 70F architecture  This posting includes an audio/video/photo media file: Download Now |
| Lean House / Teerachai Leesuraplanon Posted: 05 Mar 2018 04:00 PM PST  © Rungkit Charoenwat
 © Rungkit Charoenwat "Baan Ing Gaya" (Lean House) is designed to respond to the changing lifestyle of a Chinese-Thai man, aged 73 years, a resident and client of the house. The change is not just only moving from living in a 4-story commercial building to a single-story home, but also changing of mind and feeling to adapt to the new context. Therefore, the design takes into account balancing and blending between "Convention vs Science", "The sense of security vs The comfort of new living in an open space" and "Chinese and Thai architecture"  © Rungkit Charoenwat  Floor Plan  © Rungkit Charoenwat Although in his senior years, the homeowner welcomes rational and modern thinking. Yet, as a Chinese-Thai descent, he does not overlook the belief in Feng Shui which affects not only the orientation of the house in the vast land but also facing of the house toward the north-east street and the location of the master bedroom too. In addition, the designer has employed the climatological data and analysis of the site to locate the central hall, which is the heart of this house, facing south to the view of Garjan giant trees in the temple: the best view of this area. So this hall embraces ventilation and comfort that the client had never received before when living in a commercial building.  © Rungkit Charoenwat Regarding the familiar sense of security throughout the homeowner's previous accommodation, this factor is what the designer is to first focus on with the new context: by designing the transparent fence, leaving the area as the front yard for clear of vision, and creating a large wall to prevent a private area from the eyes of the passersby. However, to reduce the solidity of the wall, the designer has created the particular pattern of masonry to make a porous brick wall and has installed the clear glass sliding windows inside the wall to present two layers of security. Moreover, the surrounded area is designated as an open space, which is the same concept used in a traditional Thai house that often leaves the packed soil ground around it. But this house, river gravels are used instead as they would clatter if intruders broke in.  © Rungkit Charoenwat  Section B  © Rungkit Charoenwat In addition, located in the idyllic landscape of Angthong suburb, the building is designed based on basic elements of architecture, including locally available materials such as wood, steel, and concrete. Yet, the most important material was the local-made "Angthong bricks" with an intention to show an authenticity of material to reflect its true value and to create harmony with the rural landscape surrounding. Apart from this, because of the location which is on an open land with no perennial trees together with the concept of safety, the architect has created a surrounding space around the building, thus allowing the light to shine through the semi-transparent plane that has built for a safety reason. Also, light and shadow on the plane of the architecture itself appear and change according to different moments of the day: a good example of how natural power imparts the value of space.  © Rungkit Charoenwat  This posting includes an audio/video/photo media file: Download Now |
| Posted: 05 Mar 2018 02:00 PM PST  © Quang Dam
 © Quang Dam Text description provided by the architects. New lands of the city are gradually filled by urbanization. In the process of development, old architectural forms become obsolete. Vietnamese - tube house is one of the typical examples, the repetitive construction, which takes away the living space in the house. Interacting with the owner, motivating and toward better space values. How to build new spaces, contributing to change human thinking in the space of living. The shortage of large space in the city, people are gradually narrowed in backward tube houses.  Sketch The house is a conversation between the owner and the architect. We start the story in a simple way, looking for new values in the living space. A host is a young man, living with his mother. They have an open mindset over others. They demand an open space, a comfortable lifestyle. The son asks for a room that can be opened to the maximum, with clear views towards the front where he can create and make a small studio attached to his living space. His mother asked us for a large space for the kitchen - the host regularly welcomed the guests at the weekend, although the house is only 4 meters wide.  © Quang Dam  Section  © Quang Dam We started designing with new and open minds. We pay attention to the public spaces of a house, rather than the kitchen that is clearly divided by the dinner table or partition. We extended the kitchen and connected it to the dinner table, which was placed in the vertical position of the house. The kitchen becomes a major space, extends the public space of the house. The master bedroom is opened with glass panels on the front. In a new way, we want to create a view in the space of the room. We decided to create the gaps – " khoảng trống " directly from the roof, which creates views that look at the sky at night, which will be used to light the day. To solve the "khoảng trống" optimally, we use quadrilateral crossbars, and the sides are inclined in the opposite direction of light from time to time. Space is filled with light and "khoảng trống".  © Quang Dam Space was created continuously, not separated by walls or stairs. The spaces were connected by the language of natural light. Bring people closer to the surrounding environment. The open space has a larger volume than the closet space - the bedroom.  © Quang Dam The ultimate goal of expanding space, connecting spaces with light - to create a human connection with nature, and living space.  This posting includes an audio/video/photo media file: Download Now |
| Qingdao Wanda Victoria Bay Xifeng Bridge / PT Architecture Design Posted: 05 Mar 2018 12:00 PM PST  Courtesy of PT Landscape
 Courtesy of PT Landscape Text description provided by the architects. The concept of Xifeng Bridge is the spread-open wings of a phoenix, which is an auspicious bird and a symbol of peace and harmony. The ancients believed that phoenix would fly over if the world is in peace and prosperity. The oracle of "Feng" is like the oracle of wind, meaning the omnipresent and spiritual power of wind."Huang" is pronounced like the "Emperor" in Chinese, meaning the supreme power. Therefore, phoenix is also the symbol of Chinese imperial power, and is usually paired with dragon, which is a symbol of lucky and harmony.  Courtesy of PT Landscape In the choice of colors, red and wood have been combined in the Xifeng Bridge. Red symbolizes energy, vitality, willpower, fire and power, while wood symbolizes calm and warm, giving an intimate feeling to people of returning to nature. The combination of polyline shape and red and wood material creates a simple, clean, conformable and stylish space atmosphere.  Courtesy of PT Landscape  Courtesy of PT Landscape As for the paving design, simple yet stylish dark gray and light gray granite are blended together with dynamic lines, creating an active space that echoes with the theme of the bridge, and creating a stylish waterfront plaza. Meanwhile, a variety of deformation planting bed has been provided as seat benches for people to have a rest, and group greening on the two sides of the steps create a more soft and natural space.  Courtesy of PT Landscape  Courtesy of PT Landscape The bridge pier is inspired by the auspicious clouds which is "Origin symbiosis, harmonious communion". Since ancient times, there is always an auspicious cloud under the feet of the mythical animal, the combination of both indicates good luck and prosperity. The culture of auspicious clouds in China has a long history of more than a thousand years, which is a representative cultural symbol of China.  Courtesy of PT Landscape The "clouds" pattern first appeared in the Chu region of late Zhou Dynasty, from then on, a decoration style of combining clouds and animals prevailed over the Chu region. At the Qin and Han dynasty, this style prevailed over the whole country and reached its apogee. The cloud is wonderful and magical, its changing shapes are charming and attractive. Therefore, in the opinion of the ancients, cloud is a symbol of good luck and promotion, and the creation of God. The streamlined bridge pier indicates the clouds under the feet of phoenix, Antony Gaudy's ceramic mosaic art has been used as the material, which not only enriched the spatial characteristics under the bridge, but also echoes with the coastal culture.  Courtesy of PT Landscape  This posting includes an audio/video/photo media file: Download Now |
| Syncopated, Revolving Door Condo / Tomokatzu Hayakawa Architects Posted: 05 Mar 2018 11:00 AM PST  Courtesy of Tomokatzu Hayakawa Architects
 Courtesy of Tomokatzu Hayakawa Architects Text description provided by the architects. This is the renovation project of the 70's condominium in Meguro-ku, Tokyo. We imaged the flexible equipment of glass case with the Revolving Door adapting all four seasons environment in an old condo. In the beginning, the Revolving door was something that corresponds to the needs of a lot of visitors of the client. We've thought to separate the living space for the visitor to rest to the other with sliding wall or movable partition. Also, the client wanted to drink a glass of wine while watching the bike and the other important collection. Before long, they will be the Revolving door + glass screen integrated with wall storage behind, it reminded as an important environmental equipment.  Courtesy of Tomokatzu Hayakawa Architects  Before and After Plans  Courtesy of Tomokatzu Hayakawa Architects We gladly accepted rather a mere facade of the design. the Revolving door + glass screen would be the apparatus that contributes as a function of increasing the indoor environment not only for this room design. Depend on changing the angle of the T-type revolving door, the function will change. At 0 degrees, glass showcase decorates the sneakers and the bike and important their collection, or be ventilation in the summer at 90 degrees, at 180 degrees improving thermal insulation, sound insulation, and at 270 degrees it might be a private room for the dog wants to escape noisy living. It became a switch capable various utilization.  Courtesy of Tomokatzu Hayakawa Architects Materials of floor and wall, it is across the glass screen. We are calling it a syncopation of the material. In between the room and the room with transparent glass, we give freedom to the material as if the notes to syncopation. I thought the bouncing rhythm will be born better than allocated one. For elegant detail, Kitchen, we carefully designed the cabinet and wall storage like a simple box. With Using the 32 mm steel flat bar and 360-degree pivot hinge, the Revolving door and glass screen was sharpness like a hunting knife. We tried the new challenge to the handling of materials, such as vertical straight joint wall tiles in kitchen and herringbone floor and wall tiles in the bathroom.  Courtesy of Tomokatzu Hayakawa Architects  This posting includes an audio/video/photo media file: Download Now |
| Peter Cook's CRAB Studio Reveals Sunny CLT Innovation Center for the Arts University Bournemouth Posted: 05 Mar 2018 09:01 AM PST  Interior View. Image Courtesy of CRAB Studio Sir Peter Cook and Gavin Robotham's CRAB Studio has revealed the design of a new Innovation Studio being constructed at the Arts University Bournemouth in Poole, England. A conceptual successor to the blue Drawing Studio completed by CRAB on the university campus in 2016, the Innovation Studio will serve a larger program – a space for small start-ups led by recent graduates to develop with support from business experts within the university and from across the globe.  Exterior View. Image Courtesy of CRAB Studio Located on a small infill site between the University House administration block and the main Workshop block, the structure is designed to house a series of 'focus pads' – outfitted with plotters, business machines, fabricators and robotics – located along a snaking ramp on the interior perimeter of the building. Angled light shafts bring natural light into each area.  Concept Diagram. Image Courtesy of CRAB Studio As in the design of the Drawing Studio, color plays a strong role in the visual identity of the building. The exterior and key interior surfaces are washed in tones of orange that vary according to the direction of the plane. This jolt of color allows the building to stand out amongst its neighbors. "The light shafts avoid a deliberate hierarchy of scale," explain the architects. "The 'cheeky', keyhole–like side windows are tailored to focus upon key positions on the pads: thus the start up teams are subtly identified. It is a sunny, seaside building and a punctuation to the otherwise monochromatic blocks either side.  Interior View. Image Courtesy of CRAB Studio  Site Concept Diagram. Image Courtesy of CRAB Studio  Exterior View. Image Courtesy of CRAB Studio The building structure is comprised of a variety of interdependent flat-faced CLT (cross laminated timber) cones and prefabricated panels that are used to create walls, floors and roofs. By using material in various ways, the design also breaks down the traditional notions of program: "With direct connection through to the workshops at ground level, the building is deliberately breaking down the categories of 'office', 'studio' and 'workshop'- and is thus an appropriate hybrid for future practice."  Section. Image Courtesy of CRAB Studio  Interior View. Image Courtesy of CRAB Studio
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| Posted: 05 Mar 2018 09:00 AM PST  © Martijn de Geus
 © Martijn de Geus Text description provided by the architects. This project is located in Beijing's historic center, in an area full of hutong laneways and ancient courtyards. It's a hands-on academic project, conceived by master students from Tsinghua University, in which they investigate how to 'lever social change in China through design'. Students deal with issues from a grounded, built reality, which complements what they learn in the design studio. Surrounded by authentic hutong life, the proximity of the site to the White Pagoda Temple provided a unique experience for our students to investigate.  © Martijn de Geus  Perspective section  © Martijn de Geus After starting with an 8-week long urban design studio called Sharing Cities, the local government allocated a dilapidated courtyard for us to regenerate, as a test case for the student's ideas. The design was inspired by the opportunity to bring a new perspective to the traditional hutong experience. People can now explore the courtyard in three dimensions, including quiet corners, a skywalk and small amphitheater, and is implemented as a usable addition to the neighborhood, not as an abstract stand-alone installation.
The new structure creates a very direct connection with the renovated courtyard house, and opens up never-before seen perspectives. This has allowed visitor to interact with the traditional architecture very close-up, including a skywalk and tea-drinking platform offering amazing sunset views of the temple. An elevated view of the Buddhist, white pagoda that been standing quietly above the neighbourhood since the 13th century, or Yuan Dynasty.  © Martijn de Geus The Sharing Cities studio aims to provide urban and architectural proposals to emerging concept of sharing, and responds to the idea of public space sharing and sustainable urban development from social, economic and humanitarian perspectives. The studio emphasizes a holistic and collaborative approach and the project is a physical example of this abstract idea. After the urban design studio, the students worked within the tutor's architecture practice to combine their research and ideas into a singular design intervention for the courtyard, build together with a local contractor.  © Martijn de Geus  Sunset platform diagram  © Martijn de Geus Understanding the social impact of a design is critical for architecture education, and by seeing a project through from drawing to actual construction, students learn that their ideas can change the world around them. The courtyard was unveiled at the opening of Beijing Design Week 2017 and visited by countless visitors over the course of the week. The courtyard addition was especially enjoyed by the surrounding residents as an interactive addition to their neighborhood; for young and old.  This posting includes an audio/video/photo media file: Download Now |
| Vitória 225 / Paulo Freitas e Maria João Marques Arquitectos Posted: 05 Mar 2018 07:00 AM PST  Courtesy of Paulo Freitas e Maria João Marques Arquitectos
 Courtesy of Paulo Freitas e Maria João Marques Arquitectos Text description provided by the architects. In the Historic Center of Porto, an opportunity appears to develop a contemporary dwelling capable of being urbanistically integrated into the morphology of the city. Owned by the same owners as the next-door building, the project was thought out in a way that could create new spaces for extending their own dwelling, as well as adding two new studios. The challenge was to create a building that would adapt to the accentuated gap of the vacant lot located in Rua da Vitória, one of the oldest streets in the city, and to take advantage of the privileged view of the urban landscape of this World Heritage Site.  Courtesy of Paulo Freitas e Maria João Marques Arquitectos The building follows the alignment of the neighboring constructions and the street, and adapts to the morphology of the land taking advantage of the difference of levels to build two floors below the street level. In total there are four floors, two floors above the street, aligned by the edges of the roof of the neighboring buildings, maintaining the existing urban profile.  Courtesy of Paulo Freitas e Maria João Marques Arquitectos  Courtesy of Paulo Freitas e Maria João Marques Arquitectos _GROUND_FLOOR.jpg?1519782509 "Ground floor plan") Ground floor plan  Courtesy of Paulo Freitas e Maria João Marques Arquitectos Access to the interior of the dwelling is done directly from the street, where the first studio is located. The upper floor, accessible through the adjacent building, consists of a suite and a balcony. The second studio is located on the lower floor with the same distribution as the first one. Technical areas are located in the backyard, which communicates with both buildings.  Courtesy of Paulo Freitas e Maria João Marques Arquitectos The building is completely open to the city to the Southeast, with wide openings, and a balcony on the top floor, so that you can enjoy the landscape over the city. This more torn front contrasts with the Northwest front towards the street, which is more closed due to the proximity that the building has with neighboring buildings.  Cross Section Because it is a new structure, the materials and construction techniques used were in accordance with current practices. The new construction holds a volumetry that is totally shaped to the existing reality, and at the same time adopts a contemporary image, that offers its users a unique visual and architectonic experience.  Courtesy of Paulo Freitas e Maria João Marques Arquitectos  This posting includes an audio/video/photo media file: Download Now |
| Eva Franch i Gilabert Selected as the New Director of the Architectural Association Posted: 05 Mar 2018 06:30 AM PST  Left, The Architectural Association on Bedford Square, London. Photograph by wikimedia user Jeremysm. Image is in the public domain. Right, Eva Franch i Gilabert. Photo by Stefan Ruiz The Architectural Association has announced that Eva Franch I Gilabert has been selected as their new Director, following a public months-long search to replace former Director Brett Steele and interim Director Samantha Hardingham. The AA School Community, consisting of students, staff and Council members, selected Franch i Gilabert from a shortlist of 3 candidates by a majority vote of 67%, the highest percentage received in a contested election since 1990. Over 1,000 total ballots were cast. "We wish to congratulate Eva on her election and receiving the highest majority in a contested election since 1990," said the AA in a statement. "We also wish to sincerely thank Pippo and Robert for their candidacy and presentation of their ideas on the AA and the role of the director." The final vote returned: Eva Franch I Gilabert – 587 votes cast / 67% of the vote Pippo Ciorra – 154 votes cast / 17.6% of the vote Robert Mull – 135 votes cast / 15.4% of the vote Chief Curator and Executive Director of New York's Storefront for Art and Architecture since 2010, Franch i Gilabert is a celebrated architect, curator, educator and lecturer. In her vision statement presented to the school last month, she stressed the importance of adapting architectural education to the contemporary societal climate. "Today, the Architectural Association has the opportunity, and also the responsibility, to articulate what architecture can contribute to the world we live in, and to redefine what the education of an architect should be and can be," her vision statement reads. "I believe that architecture is the discipline with the privilege and duty to articulate the different desires and realities of society in a specific moment in time. Architecture has the ability to bring together the social, the economic, the political and the technological in a project of collective aspiration. But more importantly, architecture is the discipline that understands society as a whole, being able to advocate for those who are unable to sit down at the decision-making table. Architecture sits for all." News via Architectural Association
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| Frondas House / MO+G Taller de Arquitectura Posted: 05 Mar 2018 05:00 AM PST  Courtesy of MO+G Taller de Arquitectura
 Courtesy of MO+G Taller de Arquitectura Text description provided by the architects. The project is developed around a central patio, which illuminates and generates views from the interior spaces and circulations, resulting in a fusion between the exterior and the interior. With the purpose of reducing the footprint of rudeness and respecting the regulated height limit, it is proposed to depress the natural level of the terrain. The program is developed on platforms that lower half levels from the street level. Thanks to the small difference in level between platforms and the auxiliary patios, the spaces are always illuminated, ventilated and in contact with the outside.  Courtesy of MO+G Taller de Arquitectura The house is divided into two ships. One is the social and services area, where the link between the areas allows the project to be versatile in its different uses. The second is the two-level ship with the night areas that are separated from the first volume, giving greater privacy and independent views to each space.  Courtesy of MO+G Taller de Arquitectura  Plans  Courtesy of MO+G Taller de Arquitectura  Sketch  Courtesy of MO+G Taller de Arquitectura The main facade is closed and simple, it pretends to be a minor construction. It works like a visual filter that refrains from revealing its interior. The transitions between the program are open, taking advantage of the climate qualities in the area.  Courtesy of MO+G Taller de Arquitectura This project proposes to generate traditional atmospheres, so the construction systems reflect the work of the hand craft. The roofs are based on wooden structures similar to traditional roofs. The exterior walls are not covered by paint, allowing the pigmented plaster to generate different hues on them. Inside, the walls are covered with plaster in its natural color, making the light reflect the artisanal work.  Courtesy of MO+G Taller de Arquitectura  This posting includes an audio/video/photo media file: Download Now |
| UK Announces Plans to Work with Survivors and Families to Create Memorial on Grenfell Tower Site Posted: 05 Mar 2018 04:30 AM PST  Grenfell Tower. Image © Flickr user paulhird. Licensed under CC BY-SA 2.0 Nearly 8 months after the devastating fire at London's Grenfell Tower resulted in the loss of 71 lives, the UK government has announced that they will be working together with the tower's survivors, families and community to determine the future of the Grenfell Tower site. A government document released with the announcement outlines the guiding principles for handling the future of the site and its memory. According to the document, the most likely results will be an on-site memorial and the renaming of the nearby Latimer Road station of the London Underground: "The common assumption is that this consultation will lead towards agreement on a fitting memorial to remember those who lost their lives; and a request to Transport for London (TfL) for the renaming of Latimer Road Underground Station to commemorate Grenfell Tower." Officials from the Kensington and Chelsea council will be tasked with ensuring work on the site is carried out in coordination with improvements to the Lancaster West estate, allowing the area to become "a place where the tragedy can be remembered and the local community thrives." "The future of Grenfell Tower site has been a major source of anxiety for the bereaved, survivors and local community not least because it is the final resting place of the loved ones we lost in the fire," commented Shahin Sadafi, Chair of Grenfell United. "We are pleased that 8 months on from the fire we finally have agreement that the bereaved, survivors and community will be at the heart of deciding the legacy of the site. We hope working together to create a fitting memorial will be part of a healing process for everyone affected." News via Gov.UK  This posting includes an audio/video/photo media file: Download Now |
| Magazzino Italian Art / MQ Architecture Posted: 05 Mar 2018 03:00 AM PST  © javier callejas
 © javier callejas Text description provided by the architects. Magazzino Italian Art is a private initiative conceived by Nancy Olnick and Giorgio Spanu to house their collection of postwar Italian Art. The commission consisted in a full renovation of an existing 11,000 square-foot building and an additional 14,000 square feet of new construction. The existing L-shaped structure was erected in 1964 as a distribution center for dairy products and surrounded by loading docks and canopies. The new space needed a taller clearance, since some of the collection’s pieces were large, as well as highly controlled natural light.  © javier callejas The starting approach was simple: the existing L-shaped building could be completed into a rectangle with a central courtyard. This idea allowed us to propose an independent structure that would run parallel to the longer part of the existing building and link both structures by means of two glass connectors, thus stressing the lightness. Consequently, it would establish a dialogue between the new and existing building; the natural light helps stress precisely that: the existing building works with the specific, solid light coming from the skylights aligned with the main pathways through the building, whereas the expansion proposes a uniform and faint light that makes the most of the whole. In both spaces, we have tried maximize the flexibility of artificial light by means of track lighting that crosses the lower interior cordons of the joist.  © javier callejas  Axonometric  © javier callejas The existing structure opens up to the courtyard while the addition only opens a panoramic widow to the Wetlands. Additionally, the juxtaposition of the two volumes makes the central courtyard became a virtual room, an extension of the lobby, while the reflecting pool that regularizes its geometry facilitates the transition between the existing building and the addition. The flow was reduced to a simple circle in order to make the visitors follow an intuitive sequence of rooms; to keep guests from being weighed down by the burst of art, the spaces open to the exterior to help people rest their eyes throughout the tour.  © javier callejas  Ground Floor Plan  © javier callejas Magazzino, which means warehouse in Italian, attempts to pay homage to its name and the Arte Povera collection which it houses. While the artists worked with elements considered to be poor, low-quality, or readily available, we wanted to pursue this philosophy by using simple components and building techniques. The “in situ” formwork concrete wall, shaped with phenol-treated wood panels, makes up the skin of the new container; the roof cover is solved by using a simple structure involving metal gable trusses, and the white interior walls create a neutral backdrop for enjoying art.  Section The constant traffic on State Route 9, which runs next to the slope where the project is located, forced the project to turn away from the road, and the attempt to make the interior environment as quiet as possible required a detached concrete shed with building systems along the parking area. This new structure regularized the arrival and the surrounding gardens, allowing the visitors to discover the entrance by contrast of volumes and materials.  © javier callejas  This posting includes an audio/video/photo media file: Download Now |
| Will Carbon Fiber Revolutionize Architecture as Steel Did in the 19th Century? Posted: 05 Mar 2018 01:30 AM PST  Carbon fiber's light weight and unique properties make it an exciting potential building material, say researchers at Autodesk BUILD Space. Image Courtesy of University of Stuttgart This article was originally published by Autodesk's Redshift publication as "Could Carbon Fiber Be the Superhero of Building Materials?" On any weekday, Chicago's downtown business district, the Loop, teems with harried humans crossing the street like herds of wild antelope fleeing a predator. Most scurry past the Field Building without considering its significance—or that of the historic building demolished in 1931 on the same site: the Home Insurance Building. Built in 1884, it was the first tall building erected on a frame made of structural steel—a light, affordable, and durable material that allowed structures to be built taller, stronger, and faster than those made of wood or stone.
Considered the world's first skyscraper, the Home Insurance Building changed the course of architecture, engineering, and construction forever by demonstrating that steel was a viable building material and steel-frame construction a viable technique. It was only 10 stories (138 feet) high, but was the forebear to every tall building constructed since—including the current world's tallest building: the Burj Khalifa in Dubai, at 206 stories and more than half a mile tall. More than 130 years later, steel and steel frame remain kings in construction. But innovations in composite materials and robotic-fabrication techniques could mean a new despot will soon unseat them. And if research occurring at Autodesk BUILD (Building, Innovation, Learning, and Design) Space in Boston is any indication, it could be just as transformative.  Members of the Ibañez Kim project team hand-weave carbon fiber strands at BUILD Space. Image Courtesy of Salem Chism Magic MaterialsOne of the most promising composites for the future of building is carbon fiber. A polymer comprising long, thin strands of carbon atoms bound together in a crystalline formation—each strand thinner than a human hair—it's lighter than steel, five times stronger, and twice as stiff. As such, it's particularly popular among manufacturers, who twist its strands together like yarn that can be woven into fabric or molded into permanent shapes. This process is used for everything from bike frames, fishing poles, and aircraft wings to race-car bodies, golf-club shafts, and sailboat masts. "Carbon fiber and other composite materials are highly performative, meaning they have a very small weight but can take enormous loads," says architect and recent BUILD Space resident Simon Kim, principal at Ibañez Kim, an architecture and design firm in Cambridge, Massachusetts. Because carbon fiber has such unique properties, Kim and others believe it makes an ideal building material. "Composites represent a very interesting opportunity for rapid fabrication and customization," says Kim, adding that it would take just weeks to build the enclosure for a small house out of carbon fiber, versus months with conventional materials. "Composite structures can be erected rather quickly and do not require much in terms of specialized labor and workflows—from general contractors and subcontractors, to material supplies, for example. We can therefore go faster, the delivery chain is shorter, the amount of material is reduced, and it's less expensive." Thanks to its flexibility and light weight, carbon fiber can be easily moved. "Modules can be picked up, taken elsewhere, and chained together to produce larger assemblies as needed," he says. "That makes composite structures far more flexible than traditional buildings, where there's an assumption of permanence that is not always a good thing."  The fabrication setup at BUILD Space. Image Courtesy of University of Stuttgart Fabricating the FutureThe advent of steel alone didn't spawn skyscrapers. To leverage steel's benefits, architects also needed a new building technique: steel-frame construction. So is the case with innovative materials like carbon fiber: Its potential hinges on the development of cutting-edge fabrication methods to bridge the gap between laboratories and jobsites. During their recent tenures at BUILD Space, Kim and fellow residents, University of Stuttgart graduate students Ayoub Lharchi and Yencheng Lu, tested and demonstrated such methods. Their work portends a future in which the architectural case for composites is as strong as steel. Or, more to the point: stronger.  A detail of the robot used in the fabrication process. Courtesy University of Stuttgart. Image Courtesy of University of Stuttgart From Sculptures to StructuresKim began his residency in Boston in June 2017. His goal: to demonstrate that carbon-fiber construction can produce not only superior function but also superior form. His experiments—evaluating the strength properties of different resins to create carbon-fiber-reinforced polymer (CFRP) composites, for example—inform his installations in the real world. "We're using temporary construction to not only showcase what carbon fiber can do performatively but also to show that it is culturally beautiful," Kim says. Kim highlighted the visual and tactile qualities of CFRP structures in "The Forest of Sound," a Pew-funded project he completed with opera composer Lembit Beecher for his world-premiere opera, Sophia's Forest. Unveiled in September 2017 in Philadelphia, the opera featured nine "sound sculptures" created by Kim and his team at BUILD Space. Each is the size of a human performer, consisting of a wound carbon-fiber shell that houses a mechanized instrument creating ambient sounds during the performance. Although built on a small scale, the portable sculptures—which resemble spider webs or cocoons—hint at carbon fiber's architectural potential, according to Kim. He envisions a future in which existing structures, such as climate-controlled warehouses, are repurposed by adding carbon-fiber pods or capsules. Essentially, the exterior of the building would remain stable, but the interior could be customized with modular offices or residences manufactured using the same processes and principles as Kim's sound sculptures. "We can build new facilities, but we also must face the fact that we have hundreds of years of existing construction that isn't going anywhere," Kim says. "To take these concrete, brick, and stone-panel buildings down and rebuild them is difficult in terms of energy offsets and footprints. Why not repurpose them and modernize their function with 'inserts' that are extremely well-crafted, lightweight, and affordable?"  The carbon-fiber fabrication process centered around a fiber-weaving robot. Courtesy University of Stuttgart. Image Courtesy of University of Stuttgart Shaping the Future of FabricationThe natural world is full of interesting geometry, from spirals and spheres to curves and cones. And yet, the built world is too often composed of triangles, circles, and squares. Seeking to unlock a larger catalog of possible shapes for constructed objects, Lharchi and Lu spent their BUILD Space residency exploring the geometric potential of fiber-reinforced composites (FRCs). Creating novel geometries with FRCs—including carbon, glass, and aramid fibers—requires an effective fabrication method, according to Lharchi. "The best use of fiber is for large-span structures—when you want to cover the roof of a stadium, for example, and you don't want to have columns blocking the space below," he says. "If you want to build something like that currently, you can use either a large machine like the ones they use to make 3D-printed houses, which I can hardly imagine on-site, or an industrial robotic arm, where you're limited by how far the arm can reach. What we're trying to do is find a fabrication method that's practical for building one continuous large-scale [FRC] structure."  At BUILD Space, architect Simon Kim and University of Stuttgart graduate students Ayoub Lharchi and Yencheng Lu tested carbon-fiber fabrication methods. Courtesy University of Stuttgart. Image Courtesy of University of Stuttgart One promising fabrication method uses cable robots, Lharchi says. His team demonstrated cable robots' prospects at BUILD Space, where he used rope to mimic the behavioral properties of carbon fiber. "If you've ever seen a skycam at a stadium, that's basically a cable robot with a camera on it," says Lharchi, who devised a system of two cable robots working in parallel, one on top of the other. As they traverse the cable, the robots exchange fiber back and forth, weaving it in a way that enables unique geometries like a winding syntax. "Anytime you need to create a large, lightweight structure, fiber is a good choice. By investigating fabrication methods that are cheap and accessible, it's my hope that we can make on-site fiber construction mainstream."  This posting includes an audio/video/photo media file: Download Now |
| Posted: 05 Mar 2018 01:00 AM PST  © Peter VonDelinde
 © Peter VonDelinde Text description provided by the architects. The Stack House is like a child's stack of blocks. Solid blocks of private spaces, are stacked in an open, laced pattern to form voids for shared living space. The long and short sides of the blocks are positioned in response to the urban and natural setting of the Stack House. On the mid level, the blocks run perpendicular to the street to open parts of the main living space to the street below and garden behind. On the lower and upper levels, the blocks run parallel to the street to shape privacy for bedrooms, baths and utility spaces. The result of this laced stacking is an open, two-story void of shared space that is simultaneously protected for privacy and immersed in its natural surroundings.
To open a view to the lake, visible off the corner of the stack, the mid level block is pushed back from the street, like a move in a Jenga game, thereby making the corner a micro void for solitary contemplation of the water beyond.  © Peter VonDelinde  Main Floor Plan  © Peter VonDelinde Contrasting materials of corrugated metal, wood, and glass—express this stacking and shifting on the exterior. Inside, the blocks are carefully carved with curves and surfaced in white oak to shape more intimate spaces to join a family together to share a meal, to recline, read and take in the majestic oak outside, or to play the piano to fill the void with music.  © Peter VonDelinde  This posting includes an audio/video/photo media file: Download Now |
| How Acoustic Shells Work (And How to Design Them Effectively) Posted: 05 Mar 2018 12:00 AM PST  © Matheus Pereira Acoustic shells are iconic elements seen in public spaces around the world. But beyond their curious form, their operation is highly interesting. Inspired by the design of the human ear, the sound waves produced within acoustic shells are organized by their form, becoming stronger and more vivid for the audience in front of the structure. From a technical point of view, sound propagation is carried out by reverberations that, when created inside the shell, are directed by the concave shape towards the spectators. In other words, after a sound is made, it hits the shell and, due to the shell's carefully calculated form, is distributed to the audience. Another object that uses the same reasoning is the iconic Brazilian pay phone developed by the architect Chu Ming Silveira.  © <a href='https://www.flickr.com/photos/agenciabrasilia/22302551342'>Agência Brasília via Flickr</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>. Image Complexo Concha Acústica de Brasília  Acoustic Shell of Brasília / Oscar Niemeyer. Image © Gonzalo Viramonte In the design of acoustic shells, each structure should be considered on a case-by-case basis, due to the spatial variations of each setting in which they could be used. However, they can generally be conceived as a geometric result of following a radius projected in three dimensions from a point in the audience, like a cone lying on its side. This point should therefore be about the same distance from every point of the concrete shell; however, varying geometries are possible that come close to this, and a successful acoustic shell could very well follow a folding geometry, or be created from geometries in a saddle or crest shape. Generally, they are formed by semicircular base and parabolic openings. However, there are other factors involved in the proper functioning of acoustic shells. Usually, the ground outside the shell needs to be inclined, since this allows better visibility for the audience, and seating may also be arranged radially in an amphitheater form. Climatic conditions are also important for proper operation, since if the wind speed exceeds 15 kilometers per hour, this may cause disruption to the sound. [1] Environmental materials should also be considered, because certain natural materials, such as grass, partially absorb sound waves, while water surfaces are excellent reflectors.  Conchas Acústicas / Flanagan Lawrence. Image Cortesia de Flanagan Lawrence Many architects, especially in the modern period, have developed iconic acoustic shells: Oscar Niemeyer, Henrique Mindlin, Décio Tozzi, among others. Nowadays, the system is applied to a lesser extent, since this model has been replaced by closed theatrical buildings, where the nuances of sound are controlled by more modern technologies. To provide inspiration, we have selected some acoustic concrete shells already published on ArchDaily: Acoustic Shell of Brasília / Oscar Niemeyer Acoustic Shell of Brasília / Oscar Niemeyer. Image © Gonzalo Viramonte Rehabilitation of the Acoustic Shell of the Parque Agua Azul / S2 Arquitectura Rehabilitation of the Acoustic Shell of the Parque Agua Azul / S2 Arquitectura. Image © Carlos Garza Acoustic Shells / Flanagan Lawrence Conchas Acústicas / Flanagan Lawrence. Image Cortesia de Flanagan Lawrence Memorial Maria Aragão / Oscar Niemeyer Memorial Maria Aragão / Oscar Niemeyer. Image © Rômulo Marques Notes Bibliographic References:  This posting includes an audio/video/photo media file: Download Now |
| How Schools in Africa Can Benefit From Clever Design and Mango Trees Posted: 04 Mar 2018 10:00 PM PST  Courtesy of WAYAiR Foundation Many children in Africa are forced to bear the brunt of attending schools with poor ventilation that can easily overheat under the African sun. WAYAiR's proposal for a new school in Ulyankulu tackles the climate issue and provide an "educational village" respecting the local heritage and identity of the town. WAYAiR is a group of like-minded educators that for the last 25 years have developed their unique school program in Poznan, Poland using an art based educational program and now wish to share their expertise worldwide.  Courtesy of WAYAiR Foundation  Courtesy of WAYAiR Foundation The team of architects, including the Mies van der Rohe's 2016 Young Talent Architect Award winner Iwo Borkowicz, have proposed a school to be built that accommodates social activities for both during and after school hours, promoting play between the kids and other Ulyankulu inhabitants. The town is a result of the migration of thousands of Burundi refugees in 1970s after mass genocides, the team have worked closely with both migration experts, ethnographers, educators and finally architects to design a primary school for the people of the town.  Courtesy of WAYAiR Foundation  Courtesy of WAYAiR Foundation  Courtesy of WAYAiR Foundation Central to their design are the mango trees that the classrooms will be situated around, forming an inner central courtyard protected under the canopy. The layout of the school will also use the greenery to increase the ventilation benefits as hot air will escape in the direction away from the trees and the double roof system will draw out the cooler air from beneath the tree. As well, the roof will collect rainwater to prepare for the annual droughts that the country suffers from. The entire building will be built upon thick foundations with a high thermal mass that can retain the colder temperatures from during the night and help to cool the classrooms during the day. The architects have remained loyal to the local materials and craftsmanship techniques. Most of the materials will be sourced from nearby, including palm leaf mats for the ceiling finish, plastic weave for the window shutters and clay bricks that will be fired on site. Surrounding the classrooms will be a perforated serpentine wall, bordering the introverted courtyards between adjacent classrooms giving a unique identity and color. Each of the courtyards will provide play equipment like nets, swings and slides for a continuous playground surrounding the school. The finished building will be a festival of color, glistening in the African sun.  Courtesy of WAYAiR Foundation
News via: WAYAiR Foundation.  This posting includes an audio/video/photo media file: Download Now |
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