Arch Daily |
- Outdoor Altar in the Prayer Area / Paula Santos
- Höller House / Innauer-Matt Architekten
- Glass Pavilion / OFIS arhitekti
- Long An House / Tropical Space
- OTA FINE ARTS Gallery in Shanghai / B.L.U.E. Architecture Design Studio
- House in Miyamoto / Tato Architects
- Jian Li Ju Theatre / More Design Office
- Julis Romo Rabinowitz Building & Louis A. Simpson International Building / KPMB Architects
- OMA's 2017 MPavilion to Be Relocated to Monash University in Melbourne
- The Rainbow Bridge / SPF: architects
- Adjaye Associates Unveils Design of New Ghana National Cathedral in Accra
- Dream the Combine's Jennifer Newsom & Tom Carruthers Win MoMA PS1's 2018 Young Architects Program
- Santa Teresa's House / Carla Juaçaba
- Yesomi Umolu Selected as Artistic Director of the 2019 Chicago Architecture Biennial
- Gentrification, Alienation, and Homelessness: What Really Happens When Amazon Moves to Town?
- RI House / arquitectura x
- Architecture That Can Feed You: Penda's Yin & Yang House Addresses Our Detachment With Food
- Is the Pritzker Prize Still Relevant Today?
- Garden Folly / Kawahara Krause Architects
| Outdoor Altar in the Prayer Area / Paula Santos Posted: 06 Mar 2018 07:00 PM PST  © Fernando Guerra | FG+SG
 © Fernando Guerra | FG+SG Text description provided by the architects. The Centenary of the Apparitions of Fatima and the visit of the Pope Francisco on the 13th of May 2017, justified the project and the construction of the new Outdoor Altar in the Prayer Area of Fatima, a permanent work for outdoor ceremonies.  © Fernando Guerra | FG+SG  Ground Floor Plan  © Fernando Guerra | FG+SG The exterior Outdoor Altar includes in the lower floor a Sacristy, a Chapel of the Sacred Reserve and support areas for the priests.  © Fernando Guerra | FG+SG  © Fernando Guerra | FG+SG The project also allowed the mobility for the disabled to the old Basilica, the improvement of the existing colonnades and the redesign of the staircase to access all religious structures.  © Fernando Guerra | FG+SG  Elevation + Section  © Fernando Guerra | FG+SG A fiberglass cover coated on both sides was studied by the team project with INEGI. The cover has 600 m2 of suspended area, supported only by a block of white concrete within which are all technical and vertical accesses.  © Fernando Guerra | FG+SG The building's architecture has the intervention of Filip Moroder for the Image of Christ, João Mendes Ribeiro for the liturgical places and Fernanda Fragateiro for the sculpture Matéria Espiritual.  © Fernando Guerra | FG+SG The architectural intervention has a grand scenographic importance in a sacred place and we intended it to result sublime and harmonious in the vast praying square.  © Fernando Guerra | FG+SG  This posting includes an audio/video/photo media file: Download Now |
| Höller House / Innauer-Matt Architekten Posted: 06 Mar 2018 06:00 PM PST  © Adolf Bereuter
 © Adolf Bereuter Text description provided by the architects. Building a house in the picturesque Bregenzerwald valley in Western Austria, on a very steep hill outside the village center, on a quiet road where several homes of varying size and artistic value had been built in recent years on both sides of the road. The Höller House is – and will, for topographical reasons, remain – the last house on the northern side. The assignment was to come up with a new building for this steep, exposed place, only used to herd goats before. A building that would be convincing in its noble simplicity while highlighting the best characteristics of the lot. An additional challenge was the future owner's request for a private outdoor space.  © Adolf Bereuter  Floor Plans  © Adolf Bereuter The front-gabled building, its roof ridge parallel to the hill, resembles the traditional farm buildings of the region, blending in with the landscape most naturally. We carefully placed it into the hillside situation like a solitaire, with only two of its three floors being visible. The entrance is not recognizable as such immediately, making the house seem somewhat unapproachable and more private. The access from the road is situated at a lower level and only at second sight, the concrete-covered cut into the hill can be identified as the entrance. Inside the house, several stairs lead from the double garage up the hill. On the first floor are the bedrooms, each of them with a terrace to the south. Here, the building opens up to the surrounding landscapes for the first time.  © Adolf Bereuter  Sections  © Adolf Bereuter On the upper floor is the living area consisting of several layers or shells; at its core, the staircase which also houses a toilet and storage room. Around this solid core of exposed concrete is the living and dining area, bright and open all the way up to the ridge. The outermost shell consists of a covered terrace running all around the house, allowing for a smooth transition from the inside of the house to its natural surroundings. A screen façade of vertical and horizontal spruce slats, enclosing the room-high glass or spray plaster surfaces on the inside, gives the building a homogenous look. This way we created a wide spectrum of translucence and transparency which we gradually and individually adapted to each room, its purpose and the level of desired intimacy, preventing unwanted insights while making beautiful outlooks part of everyday life and living.  © Adolf Bereuter  This posting includes an audio/video/photo media file: Download Now |
| Glass Pavilion / OFIS arhitekti Posted: 06 Mar 2018 04:00 PM PST  Courtesy of Gonzalo Botet
 Courtesy of Gonzalo Botet RESEARCH  © Jose Navarrete .jpg?1520294121 "© Jose Navarrete") © Jose Navarrete This project is a response to the local, desert climate conditions. It is about both passive design and renewable energy generation. The building's footprint contains every element that makes life possible from energy production to waste water treatment, while maintaining a comfortable interior only surrounded by a stunning, uninterrupted 360° views. .jpg?1520294412 "© Jose Navarrete") © Jose Navarrete  Concept 01. Image Courtesy of OFIS arhitekti  Courtesy of Gonzalo Botet PROGRAM .jpg?1520294375 "Courtesy of Gonzalo Botet") Courtesy of Gonzalo Botet  Floorplan .jpg?1520294026 "© Jose Navarrete") © Jose Navarrete GLASS WALLS AS A STRUCTURE .jpg?1520294297 "© Jose Navarrete") © Jose Navarrete  Detail  Courtesy of Gonzalo Botet Excerpt from AKT II structural engineers: "This is the third iteration of our collaboration in research and design with OFIS Architects, continuing our exploration into the intrinsic structural nature of glass and timber. Set in the harsh weather conditions of Spain's Gorafe desert, the unit uses the vertical glazing panels of the envelope as structural walls, resisting the desert's high-speed winds and supporting the timber stressed skin roof. Our Envelopes team developed bespoke details to accommodate the structural function of the glazing, and supported the client during the procurement phase." _resize.jpg?1520294433 "Courtesy of Gonzalo Botet") Courtesy of Gonzalo Botet  This posting includes an audio/video/photo media file: Download Now |
| Long An House / Tropical Space Posted: 06 Mar 2018 02:00 PM PST  © Hiroyuki Oki
 © Hiroyuki Oki Text description provided by the architects. The architects were inspired by the traditional house want to design a house with the traditional structure accompanied by 3 separate spaces and slope roof, but using a modern and strong architectural language. At the same time, maximizing the ventilation efficiency by dividing the roof into two parts and having a courtyard; then allocating two corridors to connecting the roof. This way created a courtyard and big walls. These are porous walls which can bring breeze into the house  © Hiroyuki Oki  Ground Floor Plan  © Hiroyuki Oki The Vietnam traditional house is stretched from front to back creating continuous functional spaces. These spaces' boundaries are estimated by light with different intensity and darkness. The layout utilizes the wind direction of the local area in different seasons. Approaching the house firstly is the front yard made bY the hollow clay bricks, which can absorb the rain itself and reduce the heat on the floor Following is a buffer space which created the light transition from the yard to the living room, dining room and bedroom.  © Hiroyuki Oki The kitchen area and other functional spaces are located on the north side and go along the house, which is an advantage to traditional cooking when many family members come and visit. The mezzanine accommodates with two bedrooms, a relaxing and reading area and a long corridor connecting all spaces in the house through two stairs on both ends. We want to have a continuous space between the functional ones in and out of the house, so that the children can play and move freely, throughout the house without being confined by separate walls.  © Hiroyuki Oki  Section 2  © Hiroyuki Oki  This posting includes an audio/video/photo media file: Download Now |
| OTA FINE ARTS Gallery in Shanghai / B.L.U.E. Architecture Design Studio Posted: 06 Mar 2018 12:00 PM PST  © Eiichi Kano
 © Eiichi Kano Text description provided by the architects. OTA FINE ARTS gallery is located in Shanghai West Bund Culture & Art Pilot Zone, it is the first time settled in China, which is also the third gallery following the gallery of Tokyo and Singapore. 2017 is the 23rd year since the OTA FINE ARTS was founded. As the founder, Hidenori Ota is the most important promoter of Japan's contemporary national treasure artist Kusama Yayoi. He hopes to continue to provide the platform to more Asian cutting-edge artists and expands the new direction of the Asian contemporary art.  © Eiichi Kano The base was a three-bay old bungalow. We chose to dismantle it and hope to build a brand-new and pure building which be full of new design language.  © Eiichi Kano
 © Eiichi Kano We imagine the six main functional areas required by the gallery as six unit boxes，due to considering the rectangular shape of the site and the require by the owner to maximize the use of the area. We use the rectangular box form to display and the most basic unit to maximize the space，Through a lot of block study, we have reached a balance of architectural form and function. Finally, there are four pure big blocks made up of six unit boxes.  © Eiichi Kano
 © Eiichi Kano For material of the building, we want to use the traditional elements of Shanghai to show it. From gray brick of Shanghai traditional Shikumen to the red brick of old villa in colonial period of France, the brick seems to be the typical symbol in Shanghai building. We chose the brick as texture, but we abstract its color into white. This not only shows the characteristics of the city of Shanghai, but also syncretize with the many white buildings in the modern art area of the West Bund.  © Eiichi Kano The main entrance to the building is located on the western side, there is no window in the western side, in this way, the wall of the exhibition space is more effectively used, the western wall of the building combines with two buildings around the building to make a courtyard space, which makes the main entrance space more sense of aggregation.The eastern side of the building faces the office entrance of the West Bund staff and it is also the main facade of the gallery. We use different sized windows to create a dialogue between the interior of the building and the outdoor space.  © Eiichi Kano  This posting includes an audio/video/photo media file: Download Now |
| House in Miyamoto / Tato Architects Posted: 06 Mar 2018 11:00 AM PST  © Shinkenchiku Sha
 © Shinkenchiku Sha Text description provided by the architects. At this house - a residence designed for a family of three and their many belongings - the client requested that the members of the family can feel close to each other regardless of where they are in the house. Moreover, private rooms were not needed because they feel that it is lonely to withdraw into one's space, and storage space was also unnecessary because they did not want to tuck things away. As a result of trying to find a form that allows the whole house to feel like one room while securing sufficient space for their belongings at the same time, we proposed a design to connect the flooring with a height difference of 700 mm, where the different levels can be used as tables and shelves. The floors build up as two spiral shapes, joins at the living room, and then separate into two again before arriving at the rooftop deck. By using this combination of two spirals, we were able to create multiple paths inside the house that allows different room compartments and changes in the circulation, equipping the house to be able to accommodate changes in the lifestyle of the client.  © Shinkenchiku Sha  Perspective  © Shinkenchiku Sha The surrounding of the flag-shaped site as a result of the selling of the old wooden house near the station, are parking lots and apartments, and it is expected that there will be more tall buildings built in the near future. Assuming that the only outdoor area that receives good sunlight is the roof, a rectangular box-shaped volume with the flat roof and triangular terraces are inserted, the windows are placed uniformly with the least interference with the structure to allow the house to be able to accommodate changes in the environment. Due to the fact that the house is located in a fire prevention district, it is designed with a steel framework with a ceiling height of 6,900 mm, where 13 floors surface float, with the top seven different levels suspended with 20 mm steel rods from the roof beam, with the bottom six floors supported by 75 mm square steel pipes. The spatial structure that is constructed by repeating a simple autonomous system is similar to an "echo chamber", which amplifies the innermost lifestyle of the client and conveys a sensitivity that expands without limit.  © Shinkenchiku Sha The client has lived in the area nearby and slowly moved into the house. Since they started officially living here, the things, the architecture and people has became one like an ensemble, and the rich scenery of their lifestyle is expanding as if they are moving inside a forest. From now on, we look forward to seeing house the things, the residents and architecture settle down in relation to each other through time.  © Shinkenchiku Sha  This posting includes an audio/video/photo media file: Download Now |
| Jian Li Ju Theatre / More Design Office Posted: 06 Mar 2018 09:00 AM PST  © Dirk Weiblen
 © Dirk Weiblen Text description provided by the architects. The Jianliju theatre company, in an interesting examination of typology, offers a unique spectator experience where the audience plays an integral part of their performances and productions, as such the brief for their new premises in Shanghai demands a careful architectural approach to the relationships between space, event and movement. MDO, the architects selected to take on this mantle, have addressed these conditions with a deliberate and exaggerated exploration of form, lighting and circulation. The practice has taken the cinematic expression of film noir and applied its heightened sense of drama to the atmosphere within to create a sequence of contrasting spaces that read as a montage of screenshots from a film reel.  © Dirk Weiblen With work of this nature, the architectural theory of Tschumi, especially the 1976 Screenplays project, is never far away and many of the formal strategies employed by MDO directly reference the parallels with screen editing and the time-space nature of architecture. Tools such as distortion, repetition and superimposition often used by the great directors of the film noir scene have all been applied as a method to soak the interior with all the atmosphere of a 50s Hollywood melodrama.  Plan  Folded Plan The theatre is accessed off a non-descript side-street in central Shanghai, the entrance door hidden at the back of an antique furniture emporium. Visitors arrive only with a time, location and number. From the door, a stair leads down into the darkness and from there the circulation seeks to create a sense of departure from the world outside, a deliberate act of disorientation initiated by a dark curved corridor that emphasizes low-key lighting and unbalanced compositions leads to the spaces inside. The functions are organized into a linear arrangement of spaces, where the visitor is prevented from going backwards, as if following an unknown figure through the street at night.  © Dirk Weiblen The palette is simple throughout, monotone, minimal with a hint at texture through the treatment of the plaster to give a lustre and depth to the spaces. In contrast to the threshold sequence, the first space, the lobby, is bright and lined with acoustic paneling on the walls and benches creating a closed and soft environment, a moment of respite before the performance begins and the drama is further heightened.  © Dirk Weiblen When it is time, each participant in the production enters a small changing space, highlighted by an eerie number projected from a pinhole aperture on to the dark corridor floor. Here in a space reminiscent of a Lynch production set complete with heavy velvet curtains, they are provided with a script and transform into character.  © Dirk Weiblen They emerge from a costume change into a small anti-chamber where the four enclosing walls are asymmetrical, an unsettling space where the main focus is on a number displayed through a magnifying glass giving stage directions to the participating actors waiting in anticipation.  © Dirk Weiblen After the show concludes the sequence finishes with a hall of mirrors, one final nod to the film reel and the cinematic traditions that their design engages with. Given this final space is predominantly used for photographs and selfies, their last note is intentionally witty, a critical reflection perhaps on the ambiguous relationship between actor and audience that their architecture has curated throughout.  © Dirk Weiblen  © Dirk Weiblen  This posting includes an audio/video/photo media file: Download Now |
| Julis Romo Rabinowitz Building & Louis A. Simpson International Building / KPMB Architects Posted: 06 Mar 2018 07:00 AM PST  © Adrien Williams
 © Adrien Williams Text description provided by the architects. The former Frick Chemistry Laboratories at 20 Washington Road were fully renovated and with strategic new additions became the new home for key academic and administrative units at Princeton University. The Julis Romo Rabinowitz (JRR) Building houses Princeton's Economics department and related research centers, and the University's international initiatives are newly sited in the Louis A. Simpson International Building. This project realizes the University's Master Plan vision to create a hub for social sciences, and transform the large, monolithic building into a porous, transparent and welcoming learning and research environment.  © Adrien Williams  Site Plan  © Adrien Williams  Elevations  © Adrien Williams The building is located in the north-east precinct of the campus and occupies a prominent position east of Washington Road on Scudder Plaza – on the seam where the historic west campus meets the more contemporary east campus. The campus pedestrian pathway system was extended into this precinct as part of the landscape design, and a new south atrium and bridge entrance to the Simpson Building directly connects to Scudder Plaza. On Washington Road, the Beatrix Farrand landscape has been restored and forms the entrance court to the JRR Building. New glazed rooftop pavilions complement the heritage façade, and deliver flexible meeting and seminar rooms with remarkable views to the historic campus to the west.  © Adrien Williams  © Adrien Williams  © Adrien Williams  This posting includes an audio/video/photo media file: Download Now |
| OMA's 2017 MPavilion to Be Relocated to Monash University in Melbourne Posted: 06 Mar 2018 06:00 AM PST  OMA's 2017 MPavilion relocated to its new site at Monash University. Image Courtesy of OMA Rem Koolhaas & David Gianotten / OMA's 2017 MPavilion has found a permanent home at Monash University, Clayton, the Naomi Milgrom Foundation has announced. The news marks the fourth MPavilion to be gifted to the public by the Foundation. "The relocation of Rem Koolhaas and David Gianotten's MPavilion to Monash University ensures it will continue to be a dynamic incubator, where ideas about architecture, design, and creativity are encouraged and nurtured. I'm extremely pleased that it will carry on inspiring our young practitioners," said Naomi Milgrom AO, founder of the Naomi Milgrom Foundation.
Site work at Monash University is already underway, with a grand opening scheduled for May 8th. The pavilion will be located at the front entrance to the Clayton campus, adjacent to the new Learning and Teaching Building by John Wardle Architects. "We are pleased that OMA's MPavilion 2017 will be relocated to one of Melbourne's universities; places of knowledge and debate," commented Rem Koolhaas & David Gianotten of OMA. "MPavilion will engage and support the development of Monash University and the City of Melbourne. We look forward to seeing it in its exciting new context."  Photograph by Timothy Burgess. Courtesy of MPavilion  Photograph by Timothy Burgess. Courtesy of MPavilion The 2017 Mpavilion program closed on February 11th after being extended due to popular demand. In total, the 2017 pavilion received more than 117,000 visitors and hosted 477 free events over 133 days. The 2018 MPavilion will be designed by Carme Pinós of Barcelona-based Estudio Carme Pinós. Learn more about the 2018 pavilion here. News via MPavilion  David Gianotten, Naomi Milgrom and Rem Koolhaas (from left). Photograph by Timothy Burgess. Courtesy of MPavilion  This posting includes an audio/video/photo media file: Download Now |
| The Rainbow Bridge / SPF: architects Posted: 06 Mar 2018 05:00 AM PST  © John Linden
 © John Linden Text description provided by the architects. The Long Beach Seaside Way Convention and Performing Arts Center Pedestrian Bridge, or "Rainbow Bridge", provides a direct, public connection between two major Long Beach venues: the Long Beach Convention Center and the Long Beach Performing Arts Center. Before the construction of the bridge, moving between the two destinations demanded climbing numerous flights of stairs and to cross a stretch of Seaside Way dominated by loading docks and HVAC equipment.  © John Linden  Floor Plan  © John Linden The initial solution proposed by SPF:a was to build an elevated sidewalk between the two centres, but following an overwhelming response to the RFQ issued by the city, SPF:a chose to pursue a complete public amenity. The finished project is a spectacular 600-foot pedestrian bridge consisting of 76 custom-welded bent-steel ribs framing the top, and approximately 1,200 cubic yards of poured-in-place concrete shaping the base. The bridge canopy features 3,500 colour-changing LED node lights, 100 downlights, and 70 floodlights, all of which can be programmed and synched to music to create different effects.  © John Linden  Section  © John Linden SPF:a worked closely with Carl Stahl Architektur to create the custom, three-piece, stainless steel node clip that allows for the bridge's LED wiring to attach to the canopy. The unique design also allows for ease of installation and replacement flexibility. Power and drainage for the walkway plantings have been hidden within the concrete spine of the bridge. The overall design is heavily influenced by its beach surroundings (the bridge was, in fact, first dubbed "Riptide"). Structural elements such as the hull-like formation have been married with the elegance and uniformity found in waves, while the LEDs were affixed to cables to convey a net-like feeling or the rigging of a ship.  Details Axonometric  This posting includes an audio/video/photo media file: Download Now |
| Adjaye Associates Unveils Design of New Ghana National Cathedral in Accra Posted: 06 Mar 2018 04:40 AM PST  Exterior at Dusk. Image Courtesy of Adjaye Associates On the 61st anniversary of Ghana's independence, President Nana Addo Dankwa Akufo-Addo has unveiled plans for a New National Cathedral of Ghana to be built in the capital city of Accra. Led by British-Ghanaian architect David Adjaye of Adjaye Associates, the design is envisioned as a "physical embodiment of unity, harmony and spirituality" where people of all faiths will be welcome to gather and practice their faith.  Exterior Perspective. Image Courtesy of Adjaye Associates "The Cathedral will address the missing link in our nation's architecture by providing a Church of national purpose," said President Akufo-Addo. "It will be an inter-denominational house of worship and prayer, as well as serve as the venue for formal state occasions of a religious nature, such as presidential inaugurations, state funerals and national thanksgiving services." The new Cathedral will be located on a 14-acre site adjacent to Osu Cemetery near Independence Square and the Accra Sports Stadium. An axial procession of landscaped gardens will lead up to the Cathedral, perched on a dramatic plinth and accessed via monumental staircases on the Northeastern and Southwestern ends.  Processional Axis. Image Courtesy of Adjaye Associates  Axonometric of Site. Image Courtesy of Adjaye Associates  Main Entrance. Image Courtesy of Adjaye Associates Inside, Adjaye Associates will collaborate with some of Ghana and Africa's most celebrated artists to create bespoke adornments and furnishings. The Cathedral will contain a number of grand chapels; a baptistery; a two-level, 5000-seat auditorium; a vast central hall; a music school; choir facilites; an art gallery; a shop; and several multi-purpose halls. The building will also contain Africa's first Bible Museum and Documentation Centre, which will educate visitors on the history of Christianity and nation-building in Ghana.  Longitudinal Section. Image Courtesy of Adjaye Associates  Podium Entrance to Auditorium. Image Courtesy of Adjaye Associates President Akufo-Addo also announced the creation of a new ceremonial route and landscape that will connect the Cathedral to the capital's most important landmarks including Independence Square, Osu Cemetery, the State House and Africa Unity Circle. "It is an immense honour to be granted the opportunity to contribute something of this scale and import to my home country," commented Adjaye at the unveiling event. "I have sought to craft a building that not only understands its landscape but one that will be unique to Accra and the Ghanaian Nation." News via Adjaye Associates.  Site Plan showing link to Independence Square. Image Courtesy of Adjaye Associates  Exterior Perspective. Image Courtesy of Adjaye Associates  This posting includes an audio/video/photo media file: Download Now |
| Dream the Combine's Jennifer Newsom & Tom Carruthers Win MoMA PS1's 2018 Young Architects Program Posted: 06 Mar 2018 04:00 AM PST  Jennifer Newsom and Tom Carruthers of Dream The Combine. Hide & Seek. 2018. The Museum of Modern Art and MoMA PS1's Young Architects Program 2018, winner Hide & Seek by Jennifer Newsom and Tom Carruthers of Dream The Combine, in collaboration with Clayton Binkley of ARUP, has been selected as the winner of the 2018 MoMA PS1 Young Architects Program. Jennifer Newsom and Tom Carruthers were selected from a shortlist of five young firms unveiled in November. Inspired by "the jostle of relationships found in the contemporary city," Hide & Seek will feature a landscape of kinetic, responsive elements that connect the courtyards of the MoMA PS1 site to its surrounding streets. "For the 19th year of the Young Architects Program, Dream The Combine's provocative intervention Hide & Seek is a test of architecture in Long Island City, Queens and, more broadly, the American city. Conceived as a temporary site of exchange, the proposal activates the MoMA PS1 courtyard as a speculative frontier to be magnified, transgressed, and re-occupied," said Sean Anderson, Associate Curator in MoMA's Department of Architecture and Design. "As art can and should move through walls, so too does Jennifer Newsom and Tom Carruthers's architecture that restages how and why communities interact with the Museum. The materials deployed will not just be its reflective 'runway,' illuminated overhead misting networks, or even an expansive hammock for lounging, but a scaled system that addresses multiple publics with the impassioned statement, 'You Are Here.'" Each of the installation's horizontal structures will house two inward-facing, gimbaled mirrors that move in the wind or with human touch, warping views and creating unexpected relationships between spatial elements. In addition, clouds of mist and light will occupy the steel structures' upper levels, creating atmospheric conditions that respond to the activity of MoMA PS1's Warm Up events below. Other occupiable elements will include a runway and an oversized hammock. "In recent years, Long Island City has become more vertical. With this project, MoMA PS1 will engage horizontally, inviting the neighborhood and our diverse audience to participate in and engage with our programs at eye level," adds Klaus Biesenbach, MoMA PS1 Director and MoMA Chief Curator at Large. "Dream The Combine's proposal addresses this in both form and content, with participatory architecture to reflect, if not to literally mirror, the here and now in Long Island City and the country as a whole." Dream The Combine have employed mirrored surfaces to abstract reality in previous projects, including Longing, which they completed in Minneapolis in 2015. Check out a video of the piece in action below: All five finalist proposals will be displayed in an exhibition at The Museum of Modern Art this summer. Hide & Seek will open to the public in June. PROJECT CREDITS Design: Jennifer Newsom and Tom Carruthers of Dream The Combine in collaboration with Clayton Binkley of ARUP News via MoMA
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| Santa Teresa's House / Carla Juaçaba Posted: 06 Mar 2018 03:00 AM PST .jpg?1519191923 "© Federico Cairoli") © Federico Cairoli
 © Clovis Cunha Text description provided by the architects. The Santa Teresa’s house was designed on a sloping ground. For economic reasons we prefer to put the house in a single small plateau at 5m from the street. Santa Teresa is in a central area of Rio de Janeiro with a dense green area. The house follows the level curve, with a level difference between the two parts of the house, the social and the intimate one.  © Federico Cairoli  3D Model .jpg?1519191906 "© Federico Cairoli") © Federico Cairoli A glass gallery connects all parts of the house, the living room, the kitchen, and the bedrooms, forming an intimate living room throughout the bedrooms. The whole environment of the house has a panoramic view of the forest, and the Baía de Guanabara. .jpg?1519191938 "© Federico Cairoli") © Federico Cairoli The roof is the most important element of the house, a single ridge divides on one side the gallery with the glass ceiling, to the other gable roof with different slopes, the lower intimate side and the living room with a higher ceiling. The house is covered by metal sandwich roofing with wood paneling lining. The principle was to design a low-cost house, using a thin metal structure, which repeats every 2m supported on a sill plate slab. .jpg?1519191949 "© Federico Cairoli") © Federico Cairoli The house is not seen from the street, and the gallery with the translucent glass lets only see the silhouette of who passes. At night the artificial light changes the perception of the house, and turns it into a lamp. Fine horizontal wooden windows accompany the gallery and open and close to circulate the air. The house is closed for entrance, and open to landscape.  © Clovis Cunha  This posting includes an audio/video/photo media file: Download Now |
| Yesomi Umolu Selected as Artistic Director of the 2019 Chicago Architecture Biennial Posted: 06 Mar 2018 01:40 AM PST  Images by Wikimedia user Victorgrigas (left) and Andrew Bruah The Chicago Architecture Biennial has announced the selection of writer and curator Yesomi Umolu as Artistic Director for the event's 2019 edition. Currently holding the position of Exhibitions Curator at the Reva and David Logan Center for the Arts at the University of Chicago, Umolu draws from her background in architectural design and curatorial studies in creating exhibitions that explore the politics of the built environment. Recent projects include Kapwani Kiwanga: The sum and its parts, The Land Grant: Forest Law, and The Museum of Non Participation: The New Deal.  Yesomi Umolu at the Chicago Cultural Center. Photo by Andrew Bruah, courtesy the Chicago Architecture Biennial "I am honored to be invited to serve as Artistic Director of the 2019 Chicago Architecture Biennial," said Umolu. "Having my roots in the field of architecture, spatial questions have always been an important consideration of my work with contemporary artists, architects, and urbanists from across the world. I am excited to embark on the journey of engaging the city of Chicago and it publics, as well as visitors to Chicago from across the country and around the world, in these conversations." Building on the success of the Biennial's first two editions, with her vision Umolu is seeking to expand the lens of discourse to target "emerging practices and global locations that are developing new approaches to architecture, urbanism, and spatial practice." Through the selection of exhibitors, the Biennial will identify and question the shifting spatial conditions occurring at local, regional and international scales. Jack Guthman, Chairman of the Biennial, said, "We are delighted that Yesomi Umolu will serve as the Artistic Director of the 2019 Chicago Architecture Biennial. Her broad curatorial experience makes her ideally suited to build upon the critical acclaim accorded to our 2015 and 2017 Biennials by our dual constituencies—the architecture profession worldwide, as well as Chicagoans and visitors to our city." Umolu was appointed by a selection committee comprised of CAB board members and past Artistic Directors, including 2017 Directors Sharon Johnston and Mark Lee. "Umolu's curatorial practice, which boldly, yet elegantly, traverses the fields of art and architecture, makes her uniquely situated for success in this role," said Johnston and Lee. "The Biennial is a complex and multifaceted platform for exploring both the history and present-day challenges in the field, and we eagerly await the outcomes of Umolu's curatorial inquiry and exploration." The third edition of the Chicago Architecture Biennial will run from September 19, 2019 to January 5, 2020. The event will again coincide with EXPO CHICAGO, and the main site for the Biennial will again be located at the Chicago Cultural Center. News via Chicago Architecture Biennial  This posting includes an audio/video/photo media file: Download Now |
| Gentrification, Alienation, and Homelessness: What Really Happens When Amazon Moves to Town? Posted: 06 Mar 2018 01:30 AM PST  © <a href='https://www.flickr.com/photos/sounderbruce/28364849979/'>Flickr user sounderbruce</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> This article was originally published by Common Edge as "A Seattleite Reflects on the City in the Age of Amazon." At first, it was just a crane or two, a little urban renewal down on Westlake, a rumor that Paul Allen was cleaning things up, wanted a huge park with bike trails. I thought that might be nice and didn't think about it again for a while. No park happened, but one day I went down to the new Whole Foods below where I work and noticed that a whole habitat had sprung up on Westlake, an expensive Mexican chain restaurant and an expensive Italian place and an expensive Thai place, and some expensive after-work bars. I also noticed small groups of men, all white or Indian and all wearing lanyards. These groups moved around the streets, talking animatedly, freshly out of their cubicles and going to lunch, oblivious to whomever else was on the street.
 © <a href='https://www.flickr.com/photos/sounderbruce/40019103502/'>Flickr user sounderbruce</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> I noticed that the new restaurants and exercise studios and Italian furniture places and gaggles of lanyard-wearers looked strange surrounded by the Denny Triangle. At that time, five years or so ago, The Denny Triangle was down-at-heel. Junkies sat in corners and slow-moving police cars checked up on you as you walked past the auto leasing places and old stucco office buildings. When the building started on Lenora Street, I felt less edgy walking up from the ferry. The new felt safer than what had been there, and though my favorite Modernist furniture gallery went and the place where the rich guy had a showroom for his cars was gone, it looked clean and everything, though I wondered where the junkies had gone. In the next few months, my coffee place—a one-off run by an intensely handsome man of creole descent—closed. My sandwich place—run by an Asian couple—closed. The dance-lesson place run by the two Argentinians closed. The fix-your-computer place with the weird old guy closed. They didn't reopen somewhere else. About then, I noticed that when I was lecturing in the main campus building, it was becoming harder for my students to hear me, because of the constant sound of construction around us. At one point, five buildings were being built at the same time within a two block radius. We were in that first Denny Triangle demolition and construction wave. That razing and raising has not ended: today, it's going on more fiercely than ever. When I look up from my desk right now I see three cranes moving over the surrounding blocks. The entire West Coast is experiencing a crane shortage because of the building going on in Seattle. My students started to move farther away and have problems getting in on time because parking was getting harder to find. Now, instead of living in some funkadelic apartment on Queen Anne, minutes from the school, an Amazon worker now lives in the new building recently built there. My students have been moving farther and farther out. To Tacoma, to Edmonds. To Kent. They now often commute for an hour each way, and parking is impossible.  © <a href='https://commons.wikimedia.org/wiki/File:Seattle_-_Amazon.com_Campus_Grand_Plaza_01.jpg'>Wikimedia user Joe Mabel</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/4.0/deed.en'>CC BY-SA 4.0</a> Seattle has no rent control. In the past five years, rent on a studio apartment on Queen Anne increased 48 percent. Seattle led the nation in rent hikes in 2016 and early 2017, according to Zillow. Meanwhile, behind the restaurants and office buildings, faceless apartment buildings—also modern, but grey with festive yellow or red lines, or two-tone, grey and dark grey, have risen in Westlake and along every thoroughfare. Rents have gotten so high that Amazon now gives its workers rent vouchers, to combat the price increases it itself has caused. My students don't get rent vouchers. Neither do the artists, musicians, police, firefighters, retail workers, barbers, bartenders, or baristas who used to make up Seattle's middle class. These people are now gone from the downtown core. In the next two years, when I was walking back to the ferry from my job, I started to see whole blocks of old buildings being razed. Tall, black, featureless glass office buildings started to sprout—each with its de rigeur expensive restaurant on the ground floor, its high grey steel tables and wood grain walls and attractive small grouping of large-leafed plants out front. Each with its wall of expensive wines visible to the passerby. Each very much the same as the next. Walking down to the ferry became hard for me. I felt pressure from all those black buildings. I found myself feeling isolated, lonely. I had never felt lonely walking to work before. There had always been something going on, whether music or shopping bustle or someone asking you to sign a petition or some weird looking person in that once-typical Seattle outfit of pink hair, parka, white petticoat and Doc Martens. But the street life is gone because the artists are gone.  Image <a href='https://www.geekwire.com/2016/amazon-quietly-debuts-commuter-shuttle-program/'>via Geekwire</a> After the black buildings began to loom, I started taking the bus to the ferry, rather than walking. On the bus, I started to notice other buses. Big, full-sized expensive coach buses—all white, with no markings and darkened windows. It took me a while to realize that, instead of bolstering Seattle's rag-tag but effective bus system, Amazon had created its own pristine bus system for its own pristine lanyard-wearing workers. So much easier for them, really. A perk, you might say, not having to come face-to-face with Seattle's poor people, its average people, or the commuters who aren't... well, Amazon. At the same time, down by the ferry, the tents started to appear. As a ferry commuter, I've always walked a gantlet of homeless people on the way out of the terminal. Ever since Alyeska laid off thousands of workers in the Seventies, Seattle has had homelessness. When I was first working in Seattle, about ten years ago, I'd notice homeless people hurriedly breaking down a shelter or rolling up a sleeping bag as I was walking past in the morning. But, in the last two years the tents have come to stay. Yesterday, on the way to work, I counted twenty-two tents in the median strip between the ferry and Western Avenue. A strip of tents right in front of the bus stop that Amazon has somehow managed to get in front of the ferry terminal. There is no public bus stop in front of the ferry terminal anymore. At the end of January, Jeff Bezos, the richest man in the world, with a personal net worth of 121.8 billion dollars, commanded Alexa to open "Spheres," three huge polyhedron conservatories in the center of Seattle's downtown. Amazon employees can sign up to hold meetings there: And though they can look at an exhibit about them called the "Understory," the public is not allowed in. Bezos has made no effort to include the public in his Amazon world. In all of his buildings, he has made only one gesture toward the destitute, by housing an overnight shelter for 200 women and children in an Amazon headquarters building. Convenient, perhaps, to remind oneself of the good one is doing in the world, only not really. Seattle has the third largest homeless population in the country, a December 2017 article in the Seattle Times counted 11,643 people, 47.1 percent of which—5,484 people—are living without shelter. Bill Gates put Microsoft in the Seattle suburbs for a reason: He could have a campus there without having to take up responsibility for Seattle's urban mix. He could focus on the business of the business. There's a civic responsibility inherent in purchasing the center of a city. Where is Amazon's civic responsibility? Where are the places for real people, the support of people not like its workers? Seattle's citizens are now outsiders in its own urban core. It's "us and them" with Amazon. And the winner of the "HQ2" contest had better be ready for it. Natalia Ilyin is a full professor of Design at Cornish College of the Arts, in Seattle. She is also Founding and Core Faculty for the MFA in Graphic Design at Vermont College of Fine Arts. Her next book, Writing for the Design Mind, is due out from Bloomsbury Academic in January.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 06 Mar 2018 01:00 AM PST  © Bicubik, Sebastián Crespo, Andrés Fernández
 © Bicubik, Sebastián Crespo, Andrés Fernández Text description provided by the architects. This project became a house in the process, its actual configuration decided during construction, its final purpose still undecided. Uncertainty and vagueness become the strategies and the tools for constructing a series of spaces which solve the family´s needs, based on two fixed requirements: a field for playing football and a barbeque for entertaining.  Axonometric This meant actually to have a very clear and systematic spatial and dimensional strategy that could be directly translated into material, variable construction, a diffuse border system, a porous structure that could allow gradual change within a set of rules, while keeping with the strict necessities of seismic resistance.  © Bicubik, Sebastián Crespo, Andrés Fernández A redundant, light structural system based on standard steel flat bars, 6000 x 300 x 4 mm (6 and 8 mm where needed), a three dimensional lattice modulated every 600 mm.  Diagram This lattice stands independent from the use and dimension of the spaces, but varies in order to respond to their layout, configuration, dimension and use. It is a diffuse border but with a particular quality or degree of porosity, becoming literally as weak or strong as required. Depending on your position within or without the lattice it becomes absolutely defined and solid, or it apparently disappears.  © Bicubik, Sebastián Crespo, Andrés Fernández Although it is the structural, spatial and material system, it is not identifiable as an architectural or structural element that relates us to a house, thus it is undefined, a diffuse border between architecture and structure, between material and immaterial, between inside and outside.  © Bicubik, Sebastián Crespo, Andrés Fernández  This posting includes an audio/video/photo media file: Download Now |
| Architecture That Can Feed You: Penda's Yin & Yang House Addresses Our Detachment With Food Posted: 06 Mar 2018 12:00 AM PST .jpg?1519738936 "Courtesy of Penda Austria") Courtesy of Penda Austria As a generation that has the most flexibility in day-to-day life, live-work dwellings are becoming more and more popular; a topic that is expected to be seen everywhere in 2018. We can now work anywhere as long as we have a decent internet connection and something to type on. Penda's latest design, Yin & Yang house, calls upon millennials to take advantage of this ability and move back to the countryside for a better quality of life.
Yin & Yang house in Germany's countryside will provide a small family the resources to grow all of their own food for a self-sufficient lifestyle whilst establishing a harmonious dialogue between the living and working spaces in the home. Addressing our detachment with the origins of our food and the unsustainable industrial agriculture, the house will become a living organism that will transform as the seasons' pass, sculpted by nature.
Continuing the relation with nature, the roof of the house will be a landscape in itself; two peaks in opposite corners will form mountains that a valley will run through. The ascending roof will also facilitate rainwater harvesting that channels the water to the ground to be reused on dry days for the plants. Depending on the time of year Yin & Yang house will evolve and grow. In the design, Penda has integrated flexible greenhouses for the winter months and gardening planters for herbs, vegetables and fruit on the roof. .jpg?1519738888 "Courtesy of Penda Austria") Courtesy of Penda Austria .jpg?1519739031 "Courtesy of Penda Austria") Courtesy of Penda Austria "Growing your own herbs, vegetables and fruits, changes our relationship to food. In our garden, we try to grow as much of our daily nutrition as somehow possible," says Fei Tang. "You know what you eat and taste the work and love that comes from your own garden. Real food becomes part of your identity. The same way that architecture does. To combine both in one harmonious design, gives a poetic image for a small plot on the countryside." When architecture supports the food we eat, it becomes so much more than just a "building" - a rare situation when it comes to the ever-bustling cities. Penda is calling other architects to adopt this strategy to encourage the younger generation of creatives to move to the countryside. The Yin & Yang house was exhibited at the Documenta in Kassel, Germany, as part of an effort from architects to revive the region of Edersee. .jpg?1519766502 "Courtesy of Penda Austria") Courtesy of Penda Austria .jpg?1519766444 "Courtesy of Penda Austria") Courtesy of Penda Austria
News via: Penda.  This posting includes an audio/video/photo media file: Download Now |
| Is the Pritzker Prize Still Relevant Today? Posted: 05 Mar 2018 10:00 PM PST  Rural House designed by RCR Arquitectes. Rafael Aranda, Carme Pigem, and Ramón Vilalta of RCR Arquitectes won the Pritzker last year. Image Courtesy of RCR Arquitectes "The Nobel Prize in Architecture." "The profession's highest honor." These are some of the terms used to describe the Pritzker Prize. One day before the 2018 Pritzker Prize winner is to be revealed, ArchDaily's editors discuss whether the prize still lives up to its hype. The Pritzker Prize was founded in 1979 by Jay A. Pritzker and his wife Cindy. It is awarded every year "to honor a living architect or architects whose built work demonstrates a combination of those qualities of talent, vision and commitment, which has produced consistent and significant contributions to humanity and the built environment through the art of architecture." The Pritzker has been awarded 39 times to date, and the winners come from all over. Last year, the accolade was given to Rafael Aranda, Carme Pigem, and Ramón Vilalta of RCR Arquitectes—the first trio to win the award. In 2016, the prize was given to Chilean architect Alejandro Aravena, and in 2015, to the German architect Frei Otto. These announcements undoubtedly cause some furor every year. No female representation in architecture? Another starchitect?—or, on the other hand—who is this architect, and why did they deserve to win? Our editors discuss the point of the Pritzker Prize today. Has the Pritzker lost its relevance today?Becky Quintal: My feeling is that the Pritzker is suffering from a bit of an identity crisis. It's what makes it difficult to predict what is coming next. I suppose that could be intentional and perhaps even good? But I have a nagging feeling that it's not intentional. Rory Stott: I think that it seems like, internally at least, they are worried about their relevance. Nicolás Valencia: I agree. I think the Prize is very relevant, but they're facing an identity crisis. It's hard to see what the connection is behind the latest five winners. Patrick Lynch: I agree that the criteria for selection seem to have changed drastically in recent years. However, it is undeniable that the designation still holds more clout than any other award in the architecture world. It is the only prize that projects and architects regularly use as a qualifier i.e. "Pritzker Prize-winner." Rory Stott: It's good to see that they are actively working on it, even if they don't seem to have a clear direction right now. It's also one of the only architectural awards that can have a significant presence in the non-architecture world, so it's hardly dead and buried. Patrick Lynch: The reputation of the jury will also ensure it remains relevant. Nicolás Valencia: One of the things that makes it difficult to predict is that almost every single architect with built projects can be nominated. It's a wide open call. If I go back ten years, when I was a freshman in college, we used to think of the Pritzker as a lifetime achievement award. As for Pat's comment that "the reputation of the jury will also ensure it remains relevant," the thing is the jury itself doesn't always seem very related to architecture—I'm looking at you, Stephen Breyer & Ratan N. Tata. Patrick Lynch: When looking over past winners, it seems to me there have been 2 different "types" it has been awarded to: either as a capstone honoring an innovative and wide-reaching career (Frei Otto, many others), or as a jumping off point for architects whose work was largely theoretical (Zaha). RCR doesn't fill either of those criteria. Becky Quintal: Exactly. And honestly, I never received a satisfactory justification for that choice. Rory Stott: But I don't think an increased focus on mid-career architects is a bad thing, personally. Wang Shu, Aravena, even RCR are people who have proven themselves to an extent already, but still have a lot of potential to do more, especially with the increased attention brought by being a Pritzker Prize winner. Patrick Lynch: One positive thing that selecting RCR did was open up the award to a group of more than 2 architects. Rory Stott: True. Though I definitely thought it odd that at the time that the Pritzker insisted that it was being awarded to the three individuals, and asked the media to avoid calling them RCR Arquitectes. Becky Quintal: But I think that's because it broke with what they had done in the past and they needed to be consistent. Rory Stott: That's symptomatic of them needing to reckon with the individualism of the award in the past which is no longer fashionable. Becky Quintal: I think the most relevant thing the Pritzker can do today is to consistently choose architects that are practicing in the vein of Aravena and Shigeru Ban. Nicolás Valencia: A funny thing happened in Chile after Aravena won the Pritzker in 2016. Before that prize, architects used to complain that the Pritzker Prize was limited to first world-born, old architects with tons of built projects. After that year, architects started to complain the Pritzker jury was not focused on awarding the architects with tons of built projects. Rory Stott: But Nico, couldn't the same be said of Wang Shu? Or do you think it just took a few years for people to catch up with that criticism? Nicolás Valencia: Well yes, sure. I think it was a hypocritical reaction from Latin America. I didn't see that kind of criticism when Toyo Ito won, for example. Also, if we look at the big picture, the last "starchitect" who won the Pritzker Prize was Toyo Ito in 2013. Becky Quintal: Well if this year's winner isn't a "starchitect" I guess it's safe to say that's no longer their target? Patrick Lynch: So the award lists its purpose as "To honor a living architect or architects whose built work demonstrates a combination of those qualities of talent, vision, and commitment, which has produced consistent and significant contributions to humanity and the built environment through the art of architecture." The part that stands out to me is "significant contributions to humanity." Rory Stott: To me, that's vague. Especially when you consider it was written (I believe) long before their current trajectory. We could have a whole separate discussion over what the phrase "significant contributions to humanity" really means! Nicolás Valencia: The Pritzker's purpose is so open that anyone could be nominated. So now the issue is we have a huge queue of architects who should win the Pritzker. Rory Stott: I agree! Patrick Lynch: I agree that it is a bit vague, but it does explain why they've tried to select architects whose work targets a spectrum of cultures and social classes. Nicolás Valencia: Maybe that's why they have this identity crisis. It's inevitable to compare RCR with Tschumi, Aravena with Libeskind, and so on... Rory Stott: But at the same time, that's why people seem so confused about what their purpose is. The problem, I think, is that these changes are being directed by the jurors, who are fickle. For example, a lot of people commented that it can't be a coincidence that Frei Otto won in Richard Rogers' first year on the jury. A better approach would be for the Pritzker's organizers to define a new direction that's more clearly expressed than their old mission statement. Patrick Lynch: There is a worry that it can be perceived as a "good ole boys" club. I personally believe the widening of its criteria has been a good thing – I want to see more architecture from unexpected places, and give underserved voices a chance to be heard. Rory Stott: I think maybe all that's happened is they overcorrected in that direction. Nicolás Valencia: Another thing. I think if you were part of the jury, you shouldn't win the Pritzker Prize. Becky Quintal: That is interesting. What about former winners as jurors? Nicolás Valencia: I get the logic, but it looks suspicious as well. It's the "good ole boys club" idea that Pat just referred to. Rory Stott: So are we saying that being able to win and being on the jury should be mutually exclusive, for life? Especially after you criticized jurors who weren't architects earlier, that seems like a challenging suggestion. How would you distinguish between an architect who is "prize material" and one who is "juror material"? Nicolás Valencia: I just think it's one of the things that doesn't sound good when you check who's on the jury. As far as I know, you can't win an Oscar for best actor and then be a part of the jury. You can name jurors from outside the discipline, of course. But if what you want is "significant contributions to humanity and the built environment through the art of architecture," why not make it big? Bring in a more multi-disciplinary jury? As for who is "prize material" and who is "juror material"? It's a Pritzker decision. They know better than anyone! Patrick Lynch: Should we maybe finish by each sharing who we'd like to see win this year and why? Rory Stott: That's a big question! I'm not even sure if I have an answer. Patrick Lynch: [Laughs] you can name more than one if you'd like. Becky Quintal: I don't have a particular architect in mind. I just hope it's not the same kind of "artistic" practice as RCR. I find it hard to describe what kind of practice they are though. Rory Stott: Why don't you go first, Patrick? [laughs] Patrick Lynch: I will! While I'd be very happy with Kére as a new perspective or Steven Holl as a lifetime achievement, I think that awarding Diller Scofidio + Renfro would help to rationalize some of the last few picks as well: they come from a unique background (exhibition design), they consist of a diverse trio of partners from different perspectives and their work is innovative at all scales. Rory Stott: I agree with Francis Kéré, I think he would be a popular choice for most people. And who would begrudge the award finally going to Steven Holl? But I guess if I had to pick someone who fits the DS+R mold of someone very well-known but also fitting their new trajectory, I would offer Jeanne Gang. I think some of her more recent projects such as the Polis-Station proposal and her Arcus Center for Social Justice Leadership place her in the "significant contributions to humanity" conversation. Becky Quintal: I just hope they reward an architect who is generous—in their work and how open they are to sharing it. Nicolás Valencia: Checking out the last five winners, besides Toyo Ito, it seems like the Pritzker Prize is awarding architects who send a huge message to the society. So, a female Mexican architect would be a strong message for the First World. Rory Stott: Tatiana Bilbao? Nicolás Valencia: Maybe... About the editors Patrick Lynch is ArchDaily's News Editor. Prior to this position, he was an editorial intern for ArchDaily while working full time as an assistant for a watercolor artist. Patrick holds a B. Arch degree from Penn State University and has spent time studying under architect Paolo Soleri. He is currently based in New York City. Rory Stott has been ArchDaily's Managing Editor since July 2014, after starting as an ArchDaily intern. He has a BA in Architecture from Newcastle University, and is particularly interested in how overlooked elements of architectural culture—from the media, to competitions, to procurement processes—can alter the designs we end up with. Nicolás Valencia is Editor at Archdaily en Español. He graduated with a degree in architecture from Universidad de Chile in 2013. In 2017, he co-authored 'Idea Política Pública' (Policy Idea).  This posting includes an audio/video/photo media file: Download Now |
| Garden Folly / Kawahara Krause Architects Posted: 05 Mar 2018 09:00 PM PST  Courtesy of Kawahara Krause Architects
 Courtesy of Kawahara Krause Architects Text description provided by the architects. The felling of an expansive tree in a private garden in Southern Germany left a huge gap on the site boundary overgrown densely with high bushes and trees. For this gap a structure was designed occupying the space without closing it off. In the shape of a classical garden shed the Garden Folly merges well into its dense green surroundings, creating a place to sit outside in the garden but at the same time being inside.  Courtesy of Kawahara Krause Architects  Joinery Detail  Courtesy of Kawahara Krause Architects The volume consists of a grid structure of acrylic tubes connected by joints developed especially for the project. Two two-dimensional cross-shaped acrylic parts interlock to create the simple three-dimensional joints. While the tubes are transparent, the joints are lasered from white acrylic, accentuating the white, star-like joints depending on the lighting. The volume of the Garden Folly then turns into a seemingly hovering cloud of points in space.  Sections  Detail If the sun light is strong, the acrylic tubes gleam in the sun and emphasize the grid's structure. Depending on the view point the impression of this rational geometric complex oscillates between clearly structured or arbitrarily arranged. Thus the Garden Folly unites contrary characteristics: the contained space of the archetype of a house and the open, flowing space, mass and lightness, outside and inside, structure and arbitrary, clearness and ambiguity, the conventional and the conceptual.  Courtesy of Kawahara Krause Architects  This posting includes an audio/video/photo media file: Download Now |
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