Arch Daily |
- Penthouse H / Langarita Navarro Arquitectos
- Hammershus Visitor Center / Arkitema Architects
- Cabins in the Woods / Antonio Maciá Mateu + WOHA arquitectura
- Ayb Middle School / Storaket Architectural Studio
- Amytis' Garden / studio_GAON
- Lanzhou Planning Exhibition Hall / China Architecture Design & Research Group, Land-based Rationalism DRC
- Dark Light House / MRTN Architects
- Charlotte and Donald Test Pavilion / Buchanan Architecture
- Common Unity / Rozana Montiel | Estudio de Arquitectura
- 4th Istanbul Design Biennial Opening Program | A School of Schools: Orientation
- BIG Unveils Images of Zig-Zag Ski Hotel in Switzerland
- Tunquen House / PAARQ Arquitectos
- Heatherwick Reportedly Prevails in Competition for Airport Super-Terminal in Singapore
- The Jay Pritzker Pavilion / Gehry Partners
- When it Comes to Building a Better Airport, "It Never Pays to Use Cheap Materials"
- CR House / Obra arquitetos
- Time-Lapse Follows the Demolition of Over 25 Buildings (And it is Even More Satisfying Than You Think)
- SMAR Architecture Studio Selected as Winners of Science Island Design Competition
| Penthouse H / Langarita Navarro Arquitectos Posted: 11 Apr 2018 10:00 PM PDT  Cortesía de Langarita Navarro
 Cortesía de Langarita Navarro Text description provided by the architects. Attics comprise a peculiar urban geography. As the tops of buildings, they can reveal surprising singularities that are hard to imagine when one is strolling through a city at ground level. Cupolas, pavilions, terraces and towers share the space with leafy plantations, delusions in textile, illegal transparent enclosures and sloping tiled roofs. This project is linked to this world of fantasy, which it exploits through the restoration of the site's stunning original features and the invention of architectural operations close to woodwork and gardening.  Cortesía de Langarita Navarro  New Elements Axonometric  Cortesía de Langarita Navarro Located on a characteristic street in Madrid's Barrio de Salamanca, the attic forms part of the seventh floor of a typical bourgeoisie twentieth-century building. It originally housed an Academy of Fine Arts. In essence, it possesses all of the qualities of traditional painting studios: a principal volume with a soaring gabled roof, which reaches a height of 7 meters at the ridge beam and boasts a large north-facing bank of iron-framed windows that provide an even illumination to the work space. The rest of the structural elements are made up of smaller volumes arranged around two interior patios and the building's rear facade. The setbacks on the facades make it possible to enjoy the outdoors in two singular spaces. On the north side, there is an elongated terrace with direct views of a picturesque turret. The south terrace offers an expansive and wonderfully-oriented space with large enough dimensions to be thought of as a whole other room.  Cortesía de Langarita Navarro  Cortesía de Langarita Navarro The project followed two strategies. The first was to maintain all of the singular features that made the original space so unique: we respected the striking volume, the beautiful divided panes of the picture window, the old pine floors and the original wood doors. The second was to work on the space through specific operations that were coherent with the logic of the building of large-scale furniture or garden elements. In the main area, we rebuilt a precarious loft using a solution that resolved both structural and air conditioning issues, minimizing its visual impact. The space under the loft was used for the kitchen, the staircase to the next level and storage. In the rooms, a wall of closets and a window form a permeable border with the exterior. The south terrace was conceived of as another room, in which a network of climbing vines (roses, wisteria, ivy and jasmine) will create an aromatic, intimate and hedonistic oasis.  Cortesía de Langarita Navarro  This posting includes an audio/video/photo media file: Download Now |
| Hammershus Visitor Center / Arkitema Architects Posted: 11 Apr 2018 08:00 PM PDT  Arkitema Architects/Christoffer Harlang. Image © Jens Markus Lindhe
 Arkitema Architects/Christoffer Harlang. Image © Jens Markus Lindhe Text description provided by the architects. On the small Danish rocky island of Bornholm in the Baltic Sea lies Hammershus, the largest castle ruin in Northern Europe. Here, a new Visitor Centre has been built into the rocks opposite the ruin, which has been a popular tourist destination in Denmark for decades. After nearly five years of construction work, visitors can now sit in a café and enjoy the views of Hammershus, the surrounding landscape and the sea, or they can take a walk on the roof and be in the midst of nature. The centre is intended as a discreet building which does not draw too much attention to itself in relation to the surrounding protected forest and the best known tourist attraction on the island. Precisely the requirement for a discreet location in relation to the surroundings made it necessary for the architects to design a well-conceived piece of architecture with high aesthetic value.  Arkitema Architects/Christoffer Harlang. Image © Jens Markus Lindhe The Visitor Centre is designed with simple lines and high-quality materials, including local oak from Bornholm which plays a prominent role. The architects play on the contrasts of the oak planks and the specially designed oak fittings and furnishings with the outer and inner walls of raw concrete to form an inviting and warm structure. Above, the suspended roof forms a natural part of the scenic path system, and a bridge runs from the terrace in front of the centre, thus continuing the path system towards the castle ruin and creating further viewpoints in the landscape.  Arkitema Architects/Christoffer Harlang. Image © Jens Markus Lindhe "It's been an incredibly exciting task in which we've had a set assignment and some very clear guidelines. We've chosen to design a centre for which we've used exclusive materials to match the location, while also focusing on making the place feel inviting and down-to-earth. It must be a place where everyone feels welcome and where the architecture is easy to understand," says Poul Schülein, Senior Partner at Arkitema.  Arkitema Architects/Christoffer Harlang. Image © Jens Markus Lindhe Useable roof with unique views  Arkitema Architects/Christoffer Harlang. Image © Jens Markus Lindhe The light roof makes the building open and transilluminated with good spatial qualities and light from both sides. It is designed as a landscape grandstand with good seating and plenty of space for walking about. A public space which gives something back to the place by being available to visitors, and which, in the nature of things, is accessible throughout the year.  Arkitema Architects/Christoffer Harlang. Image © Jens Markus Lindhe "We've chosen a useable roof to highlight the visitors' experience of the landscape and to play down the appearance of the building as they approach the centre. The roof thus becomes a natural part of the surrounding path system, rather than a disturbing element in the landscape experience. In other words, we give visitors the opportunity for an extra experience that they wouldn't have had if they were merely to walk straight into a visitor centre. It's been important for us to create a dynamic landscape course, in which the visitors have many opportunities to experience the natural surroundings and the historical ruin," explains Poul Schülein.  Situation Plan - 1-2000 small Arkitema Architects has acted as full-service consultant on the assignment, which has been performed in cooperation with Arkitema Urban, Professor Christoffer Harlang and Wissenberg A/S.  Arkitema Architects/Christoffer Harlang. Image © Jens Markus Lindhe  This posting includes an audio/video/photo media file: Download Now |
| Cabins in the Woods / Antonio Maciá Mateu + WOHA arquitectura Posted: 11 Apr 2018 07:00 PM PDT  © David Frutos
 © David Frutos Text description provided by the architects. Making architecture is something complex. This complexity is linked with many factors as social, economic and cultural among others, and evolves at the same time as technology improves. In all these transformations there is a common factor: people. Cities, buildings, objects, in short, everything related to architecture is closely linked to people. If we focus on this situation in the case of housing, we see that each person, couple, family or group has different points of view and needs that are reflected in their way of life.  © David Frutos  Ground Floor Plan  © David Frutos On this approach, we talked with the owners of a plot in the center of the old town of Elche (Spain). They tell us that they would like to live in a forest, but they have a small plot between party walls. The project begins with the search of aspects related to a forest that can be applied to the design of this single-family house with two floors: vegetation, growth over time, large spaces, introverted spaces or overhead lighting, among others.  © David Frutos The house rises in three interrelated levels through a green patio and is organized by two strips. The first two levels are closed and the third is a solarium terrace that has access from the patio. The approach of the first strip tries to be faithful to the point of departure and proposes a single space, of two heights, luminous and more related to the patio located in the back that with the exterior of the house, in which two rooms are introduced elevated on the diaphanous ground floor, like high cabins in a forest. In this double-height space that houses the cabins the lighting is generated through the patio and is increased with skylights on the ceiling.  © David Frutos The second strip is narrower and more closed: on the ground floor it is occupied by the kitchen and on the first floor by the main room. The cabins and the main bedroom are connected by a bridge that allows the view of both the patio and the highest space of the ground floor that occupies the dining room. In this second strip, and both in the kitchen and in the master bedroom, there is a direct visual connection with the main space of the house. This connection is more intense in the main room because through it you have a vision of the curves of one of the cabins bathed by the overhead light and that emphasizes the sinuosity of its volume.  Elevation  This posting includes an audio/video/photo media file: Download Now |
| Ayb Middle School / Storaket Architectural Studio Posted: 11 Apr 2018 05:00 PM PDT  © Sona Manukyan & Ani Avagyan
 © Sona Manukyan & Ani Avagyan Text description provided by the architects. The C building was designed for the current elementary school and in the future will be utilized for Ayb Middle School. The building is situated in front of the A and B buildings with a total area of 4200 sq.m. and a capacity to accommodate 240 students. Just as in the first two buildings, the C building's architectural philosophy lies in creating an open and collaborative educational environment that is multifunctional and allows for learning to take place in multiple ways.  © Sona Manukyan & Ani Avagyan The building's first floor integrates a completely open flow with an amphitheatre that also With the use of hidden openings and walkways the interior of the first floor is connected to the landscape surrounding the exterior of the building. This allows easy access to the outside and gives students the opportunity to leave the building and commune with nature. The building's shell visually supports a large, white block form that houses the second and third floors.  © Sona Manukyan & Ani Avagyan  Plan_2  © Sona Manukyan & Ani Avagyan Ayb C is very much in harmony with the other two school buildings on campus. Everything relating to the educational process, such as classrooms, is situated on the upper floors and social areas like the hall and cafeteria are positioned on the lower floor, just as in the other two buildings. This creates a perception that the buildings have the same organizational structure despite externally having substantial differences. facilitates entry to the workshops in the basement.  © Sona Manukyan & Ani Avagyan Ayb C is equipped with modern educational technologies, various laboratories, art & crafts studios, a sports hall, an amphitheater, game and recreation zones and a library. The decoration of the premises does not incorporate plaster, and paint is kept to a minimum. The walls are largely untouched exposing the concrete and have been treated with a water repellent coating. All wiring and communication engineering is exposed and a low-key color scheme is used throughout the building.  © Sona Manukyan & Ani Avagyan Despite the basement being submerged 4 meters below the surface of the ground, the rooms have access to natural light. The boundaries of the excavation go far beyond the contours of the building, forming a free perimeter for walking and going out into the yard. This creates a green roof on a portion of the building.  © Sona Manukyan & Ani Avagyan The Ayb C building is filled with technological solutions to make the learning process as easy and seamless as possible. The structure was developed with the objective of energy efficiency and includes an energy-efficient air conditioning system. On the southern facade, solar panels are mounted on the external wall. proprietary technology developed by our team uses sensors to automatically position the solar panels where the sun's rays are most abundant. A system for automatically dimming windows, in the event of excess light, has been developed and implemented.  © Sona Manukyan & Ani Avagyan  This posting includes an audio/video/photo media file: Download Now |
| Posted: 11 Apr 2018 03:00 PM PDT  © Yongkwan Kim
 © Yongkwan Kim Text description provided by the architects. Around 600 B.C., King Nebuchadnezzar II of Babylon made a garden for his wife Amitis of Media Kingdom in the midst of desert, noticing she got homesick longing for her country's forest. It is said that the garden was a "hanging garden," that was built not on the ground but on a structure like terraced balconies. The garden was designed so well it felt like walking on regular ground. It is also said that water was drown from the far Euphrates River through water pipes, to continuously feed the plants in its garden. Probably all the advanced techniques of the time were used. Power of love created a garden hanging over the sky in the middle of the desert. It is regrettable that nothing remains, but still it is such a romantic story. This story became starting point.  © Yongkwan Kim In Seoul, 'Hongdae district' is quite an interesting place. Gone are the atmosphere of the art school, the historical feeling from the old facilities and the ambience of residential area, and the area has turned into a noisy and complex district all of a sudden. Fewer and fewer people reside around the area but the station is packed with visitors. People who visit Hongdae claim they are there for the culture, but desertification of any culture continues.  Sketch An area which were clustered with houses that had ample gardens, has turned into an area filled with cafes, bars, fashion stores and galleries. In the middle of the region was our site with a large garden. During the design process, we talked with the owner about this phenomenon and came up with the idea of Amyitis' garden, with balconies on each floor and a multi-level garden on the roof. Although there are variety of urban solutions, I thought it would be a good idea to start with planting trees and grass, the most common and logical method for desired repose.  © Yongkwan Kim The building with its exposed concrete finish, looks like a boulder. and this is associated with an image in which green grass and trees grow between crevices. Or it could be a metaphor of an oasis in Hongdae district, a place to take a breath among excessive commercial buildings.  Drawing Section The concept of this building is 'gaps'. A gap can mean a piece of tiny space between the two locations, or it can also signify a little pause between activities. On the front facade from the street, you will find a variety of gaps that leads to the entrance on the first floor, going to the courtyard, or moving to the back garden, or rising to the stairs straight to the second floor. On the opposite side of the site, there are many run-down houses, ranging from studios to rooftop residences. A free-standing wall was set up on this side to divert attention moderately and a balcony was made between the wall and the exterior wall. Then we made cracks on several spots in the free-standing wall to allow peak into the run-down surroundings.  © Yongkwan Kim Terraces and rooftop gardens were installed to create a outdoor space on each floor, using planes that were created on the upper slabs of the car lift and the setback regulation. On the first floor, compositional gaps were also used to create a natural landscaping space on and around various entrances. On the Sunken Garden which reaches the underground level, maple trees that are almost 5 meters tall are planted and they spread out wide branches, making it a spacious and warm basement garden.  © Yongkwan Kim In particular, a rear garden with 1.5 meter width was created from restriction law to allow sunlight to the northern lot. This condition reminded us of little school backyards. I remember the narrow, long backyard with decomposed granite. It was a quiet, very relaxed place to hide in. As a result, the rear garden becomes a place free from the complexity and noise of Hongdae. The outer- fence was made of cement bricks stack with straight joints, and a flower garden was placed with birches planted in a row.  © Yongkwan Kim The gap on the first floor leads to four doors into the building. One can reach basement level 1 to ground level 3 directly from the street. Some paths are wide, some dark and some narrow. A path goes up the stairs, another goes around bamboo and other paths reach the walls. Wherever you walk, the movement is like going up a mountain and one eventually looks back on the path he/she came at the beginning.  © Yongkwan Kim Modern humans are thrown into a system that propels fatigue, where the gap between each other is reduced and everyone is controlled constantly. This is especially true in cities. It is like walking through a maze that is dry and the exit is rarely seen. At a time like this, we need to take a break and look back. Hopefully, you can pause in this building, experience the garden through the cracks, and rest for a while like an oasis appearing in the city desert.  © Yongkwan Kim  This posting includes an audio/video/photo media file: Download Now |
| Posted: 11 Apr 2018 01:00 PM PDT  © Guangyuan Zhang
 © Guangyuan Zhang Text description provided by the architects. The Lanzhou Planning Exhibition Hall is located in the cross of East Bei Bin He Road and People Road. Develop along the mother river of Chinese – Yellow River，Lanzhou is a key city of western China. The building site is on the north bank of Yellow River and developed along east-west direction.  © Guangyuan Zhang The building is considered as a stone washed by river water for months and years. By means of cutting and peeling, it looks like an unprocessed jade within stone surface that indicate the cultural accumulation of the historical city.  © Guangyuan Zhang Embracing the astonishing view of Yellow River, the building allows the riverside landscape extends to its site as well as its outdoor stepped terraces naturally insert into the pebbles and reeds on the unexploited bank. To merge itself with the environment, the building creates a waterfront urban space for citizens.  © Guangyuan Zhang  Site Plan  © Guangyuan Zhang To enhance the cutting effects, the south façade is broken by several horizontal glass strips. They are also the viewing windows to catch the riverscape from interior. The exhibition route is placed around the huge city planning model in the center of first floor.  © Guangyuan Zhang  First Floor Plan  Courtesy of Fengyuzhu All of the boundary walls are cast on site to produce an impressive texture and echo the natural form of the building. The horizontal grooves arrayed with different spacing give the facades more richness, while some pebbles embedded in the walls present a local identity. The exposed concrete surface also extendes into the public area of inner space.  © Guangyuan Zhang  © Guangyuan Zhang  This posting includes an audio/video/photo media file: Download Now |
| Dark Light House / MRTN Architects Posted: 11 Apr 2018 12:00 PM PDT  © Tatjana Plitt
 © Tatjana Plitt Text description provided by the architects. Located in Rye on the Mornington Peninsular, Dark Light House is a modest addition to a family home designed and built in the late sixties. Originally built as a holiday home the owners' required additional living space but not at the expense of the detail and character of the original. Our design connects the addition to corner of the original and creates a play between light and dark, east and west, new and old. Through a minor intervention of the existing and a small addition the entire house is reimagined. The whole is greater than the sum of its parts.  © Tatjana Plitt The original holiday home, designed by Peter Fawns in 1966, possesses the traits of well-planned and efficient homes that were typical of the Small Homes Service. The house was remarkably intact and little changed over time with the exception of a bathroom upgrade. The clients' favourite feature being the hardwood timber ceiling that had developed a rich patina over the past 50 years.  Floor Plan As a full time family home the house lacked the separation of living types that enables simultaneous activities to occur and the original but modified kitchen was also not living up to daily family life. Our brief was to provide a second living space and a new kitchen; the budget was limited and managed carefully – not changing from the outset of the project to completion. The most important component of the brief however was that the original house should be altered as little as possible. The assumption was the kitchen would be upgraded in its existing location with living space added to the east.  © Tatjana Plitt Our proposal was to locate a new pavilion that allowed for a place to eat, live and cook in while at the same time becoming the new front entry and access point to the back yard. Tentatively connected to the north-eastern corner of the original the addition pushes into the garden allowing the living room to frame a Moonah Tree that was particularly loved by the clients. The new pavilion duplicates the living area size the original, providing dining and living spaces in both the original and new areas of the home.  © Tatjana Plitt The addition was designed to compliment the original, refer to it but not to imitate. The intention was to provide contrast but in a way that was not simply doing the opposite. Design influences and construction techniques on the original design were considered, particularly the influence of Japanese architecture, the glazed walls that are part window frame part structural studs and low pitched roofs with generous eaves.  © Tatjana Plitt The addition retains the idea of the ceiling being the principle feature of the space. A baffle ceiling structure of hardwood glum-lam rafters provides the clear span structure while becoming the ordering principle for the plan below. West facing glazing continues the line of the original east facing window wall, sliding timber screens allow the occupants to control afternoon summer sun while the burnished concrete slab provides thermal mass in winter.  © Tatjana Plitt  This posting includes an audio/video/photo media file: Download Now |
| Charlotte and Donald Test Pavilion / Buchanan Architecture Posted: 11 Apr 2018 10:00 AM PDT  © Charles Davis Smith
 © Charles Davis Smith Text description provided by the architects. The Charlotte and Donald Test Pavilion is a 3,700 square foot multi-function space located at "A Tasteful Place" in the Dallas Arboretum and Botanical Society. The facility overlooks a 3.5-acre garden filled with fruits, vegetables, herbs, and flowers. A demonstration kitchen in the pavilion serves as a site for cooking classes, demonstrations, educational programs and special events for adults and children.  Site Plan The Test Pavilion is situated at the southern edge of the site and aligns with the orientation of four potager gardens to the north. The building is composed of a simple limestone box inserted into a glass enclosure. A faceted wood ceiling extends diagonally outward from the top of the stone box to the exterior soffit. Low iron glazing allows natural light from the north to animate the space and provide clear views toward the gardens. All of the stone cladding and exterior wood soffit are locally sourced and fabricated.  © Charles Davis Smith  © Charles Davis Smith In the plan, the pavilion houses an open assembly space, a chef-designed demonstration kitchen, an audio/visual room, a storage/service room and restrooms. The back-of-house area is designed to accommodate catering needs and can be covered if necessary. Large wood rolling doors provide a variety of functional options at the demonstration kitchen depending on the event. The doors can be fully opened for a cooking demonstration or closed for a wedding reception, solving a programmatic requirement.  © Charles Davis Smith The pavilion also contains a broadcast-ready audiovisual production capability which allows a direct feed to television networks around the world. This allows the Arboretum to share educational programming with institutions worldwide. The Charlotte and Donald Test Pavilion is intended to complement the activities in the garden by providing additional opportunities for educational and recreational events year round.  © Charles Davis Smith  This posting includes an audio/video/photo media file: Download Now |
| Common Unity / Rozana Montiel | Estudio de Arquitectura Posted: 11 Apr 2018 08:10 AM PDT  © Sandra Pereznieto
 © Sandra Pereznieto Text description provided by the architects. It is a rehabilitation project for the public space for the San Pablo Xalpa Housing Unit in Azcapotzalco. The unit was divided by walls, fences and barriers that the inhabitants had built themselves over time and that did not allow a free use of the public space available.  4 Courtyards Plan The main objective was to transform a "sectored housing unit" into a "Common-Unity", designing with the community and not only for the community based on the implementation of different actions. The strategy of the project was to work with the barriers created by the inhabitants: permeate them, democratise them and re-signify them to generate UNITY in the neighbourhood  © Sandra Pereznieto  © Sandra Pereznieto Previously, the inhabitants of different sectors of the neighbourhood recurrently implemented temporary structures in the public area for events and meetings, thus extending their private area; working with them, we rescued the idea so that there would be areas of recreation and coexistence.  Before  Interventions  Before Modules that are more than just a roof were installed. The modules facades are equipped for different activities (blackboards, climbing walls, handrails and nets) and a multipurpose room was built, this room is usually occupy by children as a library. The recovered public space becomes an extension of each department.  © Sandra Pereznieto  Axonometric  © Sandra Pereznieto The strategy proved that was effective: people came together to contribute to the redesign of their unit; and a change in the perception of the public space was achieved, the neighbors themselves requested the removal of fences. The space itself spoke and the inhabitants of the unit made the decision to eliminate the barriers and take advantage of their outdoor spaces filling them with public and common life.  © Sandra Pereznieto  This posting includes an audio/video/photo media file: Download Now |
| 4th Istanbul Design Biennial Opening Program | A School of Schools: Orientation Posted: 11 Apr 2018 07:40 AM PDT  Courtesy of İKSV Organised by the Istanbul Foundation for Culture and Arts (İKSV) and sponsored by VitrA, the 4th Istanbul Design Biennial (22 September – 4 November 2018) announces A School of Schools: Orientation, a multifaceted opening programme exploring the possible futures of design education. Taking place over two days, from 20 – 21 September 2018, the Orientation days will see practitioners, educators and thinkers from Turkey and around the world converge for a biennial conceived as a public space for dialogue, provocation and production. Together, they will test and revise a variety of educational strategies to reflect on the role of design, knowledge, and global connectedness in contemporary Istanbul and beyond. The 4th Istanbul Design Biennial will announce further details of its programme and participants at the 2018 Milan Design Week. An aperitivo and preview will be organised at ALCOVA (Via Popoli Uniti 11-13, 20121, Milan) on Thursday 19 April 2018 at 11:30 AM with biennial curator Jan Boelen and director Deniz Ova. A School of Schools will take place across six venues Taking place from 22 September – 4 November 2018, the core exhibition of the 4th Istanbul Design Biennial will be activated at six different venues, all influential cultural institutions: Akbank Sanat, Yapı Kredi Kültür Sanat, Arter, Pera Museum, SALT Galata and Studio-X Istanbul. These are located across one of the most vibrant and diverse neighbourhoods in Istanbul, Beyoğlu. The venues form a 3.5 km walking route through the city, connected by one of the main pedestrian shopping arteries in the area – Istiklal Caddesi – and embracing the multigenerational and interdisciplinary learning environments that exist within the historical, social and cultural context of the district's urban fabric. Taking place from 22 September – 4 November 2018, the core exhibition of the 4th Istanbul Design Biennial will be activated at six different venues, all influential cultural institutions: Akbank Sanat, Yapı Kredi Kültür Sanat, Arter, Pera Museum, SALT Galata and Studio-X Istanbul. These are located across one of the most vibrant and diverse neighbourhoods in Istanbul, Beyoğlu. Media and professional accreditations for the Orientation days will be open in June 2018 at www.aschoolofschools.iksv.org/
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| BIG Unveils Images of Zig-Zag Ski Hotel in Switzerland Posted: 11 Apr 2018 07:00 AM PDT  Courtesy of BIG-Bjarke Ingels Group BIG-Bjarke Ingels Group has unveiled images of their proposed Audemars Piguet Hotel des Horlogers, a ski hotel set in the scenic Vallée de Joux, Switzerland. The compact scheme, designed in collaboration with Cche Architecture, is defined by a zig-zag form seamlessly integrated into the smooth topography of the surrounding valley, forming a connection with the nearly Musée Atelier.  Courtesy of BIG-Bjarke Ingels Group  Courtesy of BIG-Bjarke Ingels Group The 70,000 square foot (6,400 square meter) scheme consists of five zig-zagging components, softly tilted to merge into a continuous exterior path from roof to ground, inviting guests to descend on skis towards the trails of the Valle de Joux. Further addressing the valley context, the five stacked slabs gently unfold to form terraces overlooking the landscape.  Courtesy of BIG-Bjarke Ingels Group  Courtesy of BIG-Bjarke Ingels Group The journey from roof to landscape concludes at the Watchmaker's Path, a route inspired by the historical journey from Vallee de Joux to Geneva. The path forms a connection between the hotel and nearby spiraling Musée Atelier, creating a dialogue between two architectural landmarks.  Courtesy of BIG-Bjarke Ingels Group  Courtesy of BIG-Bjarke Ingels Group Inside, the five slabs form a single corridor connecting bedrooms for visitor and service circulation. Underneath the slabs, a bar, spa, conference center and restaurant are orientated towards the valley, taking advantage of sweeping views and natural light, while also acting as individual destinations along the sloping path. News via: BIG  This posting includes an audio/video/photo media file: Download Now |
| Tunquen House / PAARQ Arquitectos Posted: 11 Apr 2018 06:00 AM PDT  © Paula Monroy
 © Paula Monroy Text description provided by the architects. On the coastal edge emerge the streams of native vegetation, the water courses and the eucalyptus forests where the landscape ... speaks, which leads us to contemplate it. Premises that set up the Tunquén House, 160 km from the city of Santiago.  © Paula Monroy With the necessity to maximize the views, deliver the greatest natural light and protect from the climatic effects, a broken volumetry is proposed perched on the ground and whose terrace is built on concreted piles that pursue the views of its unchanging neighbors, the Sanctuary of the Nature and the sea to the distant horizon.  Plinth Plan  © Paula Monroy  First Floor Plan The modulation of this family home for four members (a young couple with two children), constitutes the heart of the volume, a wide double height, which allows to define the different degrees of privacy. On the ground floor, the diaphanous and flexible common spaces, the kitchen, the living room and the dining room give way to the front terrace protagonist.  © Paula Monroy  © Paula Monroy Private areas are located on the upper floor, same as the access to the house. The connection between spaces is crossed by a bridge that immediately diverges in front of the double height, on the left side, the staircase with cantilevered structure, on the other side to the living room, on-site cabins and the main bedroom, volume with North West orientation that attracts the close-up view towards the sea.  © Paula Monroy To achieve the continuity of the landscape from the access and all its views, the wood becomes significant for the realization of this project, both as noble and warm material, as a structural element. True to the construction line previously used and its configuration, is that the use of the coating horizontally makes the ventilated facade allow greater thermal insulation.  © Paula Monroy The Tunquén House synthesizes the daily acts of the family life and the constant search for what the scenery wants to tell us.  This posting includes an audio/video/photo media file: Download Now |
| Heatherwick Reportedly Prevails in Competition for Airport Super-Terminal in Singapore Posted: 11 Apr 2018 05:00 AM PDT  The airport's development plans also include <a href='https://www.archdaily.com/575693/safdie-architects-design-glass-air-hub-for-singapore-changi-airport'> Safdie Architects' mixed-use bio-dome</a> pictured here, which will feature <a href='https://www.archdaily.com/873144/safdie-architects-changi-airport-will-host-worlds-tallest-indoor-waterfall'> the world's largest indoor waterfall</a> . Image © Safdie Architects Heatherwick Studio is believed to have won an international competition for the design of the new Terminal 5 at Changi Airport, Singapore. Although no formal announcement has been made, The Architects' Journal and BD Online are reporting that a collaboration between Heatherwick and KPF has prevailed against a shortlist containing Grimshaw and SOM. If confirmed, the successful team will be tasked with the design of one of the world's largest airport terminals. The Terminal 5 building will accommodate 50 million passengers per year, giving Changi Airport a total capacity of 135 million by the late 2020s. The scheme is being developed within the context of a $1.2 billion expansion programme, which has seen the completion of a Terminal 4 building by Benoy, and a mixed-use "Jewel" biodome by Safdie Architects, pictured above, set to contain the world's largest indoor waterfall.  The airport's development plans also include <a href='https://www.archdaily.com/575693/safdie-architects-design-glass-air-hub-for-singapore-changi-airport'> Safdie Architects' mixed-use bio-dome</a> pictured here, which will feature <a href='https://www.archdaily.com/873144/safdie-architects-changi-airport-will-host-worlds-tallest-indoor-waterfall'> the world's largest indoor waterfall</a> . Image © Safdie Architects The competition for Terminal 5's design saw entries from twelve teams in 2016, shortlisted to three in 2017. Although Heatherwick and KPF may have ultimately won the competition, it has been reported by both AJ and BD that the airport has replaced Heatherwick's original engineer, Jacobs, with a team comprising Mott MacDonald and Arup, collaborators for the joint SOM, RSP, and Safdie Architects bid. Although Safdie appears to be have been unsuccessful in their bid for Terminal 5, work is progressing on their mixed-use "Jewel" biodome for the airport, pictured in this article. Set to open next year, the hub will feature retail, restaurants, entertainment space, and a hotel, all connected by a "forest valley" of lush walking trails. In response to speculation of the Terminal 5 competition's outcome, Changi Airport has issued a statement saying "the tender process for our Master Building Consultant for Terminal 5 is still ongoing. We will announce an appointment when we have the information to share." News via: The Architects' Journal and BD Online
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| The Jay Pritzker Pavilion / Gehry Partners Posted: 11 Apr 2018 04:00 AM PDT  © Patrick Pyszka
 © Patrick Pyszka Text description provided by the architects. Located in Grant Park between Michigan Avenue and Columbus Drive along the edge of Lake Michigan, the Jay Pritzker Pavilion is an open-air venue featuring performances by the Grant Park Symphony Orchestra, as well as jazz, blues, and other world music performances.  © Patrick Pyszka  Location  Courtesy of Gehry Partners The Pavilion is a highly sculptural design element clad in stainless steel panels. The stage area is clad in Douglas Fir. The Pavilion is visible from surrounding city streets and is intended to act as a focal point for Millennium Park. The Pavilion features a series of portable risers that will accommodate an orchestra of up to 120 musicians, and a choral terrace with space for a choir of up to 150 members. Back stage areas are shared with the adjacent Music and Dance Theater. Large glass doors allow the Pavilion to be used during winter months for public functions including banquets, receptions, and lectures. A decorative lighting system enhances the Pavilion with colored light washes and projections during evening performances.  Courtesy of Gehry Partners  Plan  © Patrick Pyszka Seating for the audience is provided in two areas. The main seating area accommodates up to 4,000 people in fixed seats and is located immediately adjacent to the Pavilion. Beyond the main seating area, a lawn area can seat up to an additional 7,000 people in a more informal environment.  © Patrick Pyszka Performance sound is reinforced and enhanced by speaker clusters located in front of the Pavilion. In addition, a distributed reinforcement and enhancement sound system is suspended from a trellis that spans the entire 600 foot length and 300 foot width of the lawn area. This sound system gives the audience a fuller sense of the onstage sound and controls the sound level in the surrounding neighborhood. The trellis, in the shape of a flattened dome, is constructed of curved steel pipes typically spaced 65 feet apart. The trellis is supported by cylindrical concrete pylons clad in stainless steel panels.  Courtesy of Gehry Partners  Structure The Pavilion is located atop a three level underground parking structure. A busway and metro rail tracks which run adjacent to Grant Park pass beneath the Pavilion at the lowest level of the parking structure.  Courtesy of Gehry Partners A 960 foot pedestrian bridge spanning Columbus Drive links the Pavilion to the eastern portion of Grant Park and the edge of Lake Michigan. The bridge, made of Pau Lupe wood and stainless steel, acts as an acoustic buffer from the traffic noise below.  © Patrick Pyszka  This posting includes an audio/video/photo media file: Download Now |
| When it Comes to Building a Better Airport, "It Never Pays to Use Cheap Materials" Posted: 11 Apr 2018 02:30 AM PDT  Washington Dulles Internation Airport - Main Terminal Expansion. Image © Rick Latoff Airport design is both an art and a science: the best terminals are not only functional, but also beautiful and awe-inspiring spaces. Millions of people pass through these terminals every day, yet few understand their inner workings as well as Roger Duffy and Derek A.R. Moore—design leaders at SOM who have conceptualized some of the most ambitious aviation projects around the world, including Terminal 2 at Chhatrapati Shivaji International Airport in Mumbai. In this interview, Moore, a Director, and Duffy, a Design Partner, reflect on the complicated challenges of airport design, and how these constraints can fuel creative solutions.  Chhatrapati Shivaji International Airport – Terminal 2. Image Courtesy of SOM / Robert Polidori © Mumbai International Airport Pvt. Ltd. Airports are getting bigger and bigger — Dubai, Beijing, Mexico City. Is there a natural limit to their size? Roger Duffy: What matters isn't the size of the airport, but there is a limit for individual terminals. I think you've reached that number with 50 to 60 million passengers. Any bigger, and it simply becomes unmanageable. Instead of a mega-airport with enormous terminals, what about building several airports, each with its own specialization? Which is better? Derek Moore: If the transport links work, it's clearly better to have a single airport. Otherwise bus lines and roads all need to be duplicated. Low-cost airlines would usually prefer to fly to a smaller airport, but these are nowadays stretched to the breaking point. Also, airline alliances are constantly changing. This dynamic is better managed at a single airport. The same is true of the civil aviation authorities, which operate more effectively within a single airport.  Changi International Airport - Terminal 3. Image © Tim Griffith These mega-airports must be able to grow. How do you create a system that allows for later expansion? Duffy: With the help of a crystal ball! Of course, many changes are hard to predict. For example, no one could have anticipated that security checks would change so dramatically as a result of the events of 9/11, or that loading areas would become so important for airports. But you also need to guarantee certain things to ensure that the design remains flexible. It's hard to change a fixed and complicated structure at a later date. Moore: It's also important that aircraft parking positions aren't too small. They should be expandable and not limited to particular types of aircraft, as the popular models keep growing. There are also technological changes. When wingtip devices first appeared, another five feet (roughly one and a half meters) were suddenly needed on both sides of the Airbus A320 and Boeing 737.  Toronto Pearson International Airport Terminal 1. Image © Timothy Hursley When you go through an airport as a passenger, what is it that leaves you feeling the most satisfied? Moore: Clarity. If I feel that I can move freely around the airport, I'm satisfied. I don't like it if I'm prevented from doing so, either visually or in some other way. Duffy: If I know intuitively where I have to go next. Many new airports are extremely big and there are lots of people everywhere. If I can get through the airport as a passenger without getting stressed, then I'm satisfied. Then you must often be dissatisfied. Duffy: Unfortunately, yes. I remember Bangkok Suvarnabhumi Airport, for instance. It's sheer horror. You have the feeling of constantly walking along underground supply tunnels.  Washington Dulles Internation Airport - Main Terminal Expansion. Image © Robert C. Lautman It's not easy to do it much better. There are many restrictions, both legal and on the part of airport operators and airline companies. Moore: That's right. You have to be clear about what can be changed and what can't. But within these parameters there are certain creative possibilities; at the check-in desks, for example, one of the central parts of any airport, we ensure that the islands with their desks don't become walls that you can't see through. Passengers should be able to see through them so that they know what's in store. A sense of orientation is important for travelers, which is why we often try to use glass walls between check-in and the curbside. These not only allow more light to enter the building, they also make it easier to find your way around. It's important to think of the people who don't fly all that often. They need to be able to grasp intuitively what comes next. That sounds logical. But why are there still so many airports that don't function like this? Moore: History exacts a heavy price. In the past the airline companies wanted to have as many offices as possible within the terminal, which often produced a solid wall between the entrance and the apron that you can't see through but which can't be changed in any major way. Duffy: Often the site isn't ideal. Take the new Terminal 4 at Madrid Barajas. It's a wonderful, breathtaking building. I'd give it top marks. But from the terminal you travel underground to the departure gate. These umbilical cords confuse passengers and they lose their bearings. This has been badly done in Madrid. The same is true of Hong Kong. You check in at one terminal in the city center, take a train to the airport terminal and from there you go down into the basement for the people mover system to take another train to the departure gate. That's not good. It's a result of rapid growth, with new sections being added at each phase.  Chhatrapati Shivaji International Airport – Terminal 2. Image Courtesy of SOM / Robert Polidori © Mumbai International Airport Pvt. Ltd. Problems that have been building up over the years are one aspect, another is budgetary restrictions. How often do you have to contend with these? Moore: Changes to the budget are normal. Most projects extend over such a lengthy period of time that they involve several economic cycles. It's been like this with practically every one of our projects. The best way to save is to reduce the overall area. At the new Terminal 2 at Chhatrapati Shivaji International Airport in Mumbai, for example, we took 13 feet (roughly four meters) off the length and six and a half feet (roughly two meters) off the width of the typical long-span structural bay. That doesn't sound like much, but it saved a lot in terms of cost. On the whole the terminal still seems spacious, but the building costs were considerably reduced. Duffy: But it also helps to understand the local market. This allows you to make savings from the outset, so you don't subsequently have to make cuts. In Mumbai, for example, we noticed that the local manufacturers were unable to produce steel girders in the size that we were planning, and so we changed the construction and were able to involve local manufacturers. In the end it was much cheaper.  Chhatrapati Shivaji International Airport – Terminal 2. Image Courtesy of SOM / Robert Polidori © Mumbai International Airport Pvt. Ltd. And where shouldn't you make savings? Moore: On those things with which the passenger comes into contact. It never pays to lower the overall standard by using cheaper materials. In the final analysis these things make very little difference. But they are very important. Making savings here always has major consequences in the form of added maintenance and replacement costs. We once had a client who left out the terrazzo floor that we'd planned for the baggage hall and instead laid carpet there. It had to be replaced, of course, after two years. In the end they put down vinyl tile. Should airports be the same all over the world? Or do they also have to take account of cultural considerations? Duffy: Many things are the same, largely because they are laid down by rules and regulations. Even so, cultural differences are undoubtedly important. In India, for example, your calculations need to include sufficient space to see passengers off. Here entire families turn up. As a result we designed the area in front of Terminal 2 at Chhatrapati to be especially large. The terminal also has a glass facade, so you can look in from the outside. In Southeast Asia it tends to be the shops and restaurant area that are central, much bigger than in the West. You naturally have to take account of things like these.  Washington Dulles Internation Airport - Automated People Mover Station. Image Courtesy of SOM / © Jeff Goldberg | Esto What would a dream project be for you, something you'd very much like to realize? Duffy: To have an employer who not only wants to solve a problem but who also wants to create something great. Unfortunately there is nothing like this in the West any longer. Among rising economies, this desire can still be found. Moore: I'd very much like to design a new super-hub for New York that would replace JFK, Newark, and LaGuardia. An airport with outstanding rail links. Then the sites of the present airports could be assigned new uses. This interview originally appeared in The Art of the Airport: The World's Most Beautiful Terminals, published by Frances Lincoln. It also previously featured on SOM's blog on Medium.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 11 Apr 2018 02:29 AM PDT  © Nelson Kon
 © Nelson Kon Text description provided by the architects. The main request of the couple was to make a house with a roof and great offer of external area. We proposed a large sloping roof in metal structure and L-shaped installation, where the yard turned into a large lawn fully integrated with the internal space. The large frames allow the total opening of the spaces on the ground floor by diluting the boundaries between the interior and exterior. Still, on the ground floor, there is a service and kitchen core that does not have access to the central lawn.  © Nelson Kon  Ground Floor Plan  © Nelson Kon On the upper floor, there are TV room, office, and 3 suites; all with windows to the lawn, functioning like the balconies of the Brazilian colonial houses that overlook a great páteo. The sloping cover provides ample right feet, which provides a very efficient thermal comfort. This cover also has 2 layers; double metallic tile with styrofoam and concrete tile, in addition to the wood lining. This system also greatly optimizes the energy efficiency of the home.  © Nelson Kon  Section A, B and C  © Nelson Kon The project also sought sustainability solutions, using 24 photovoltaic panels that are located in a shade at the edge of the pool and a 5,000L cistern for irrigation of the garden. The boards produce approximately 720kWh / month of power and are connected to the grid system for a cheap light bill. I believe that we realized a contemporary architecture, where the exploration of the technical virtues provided very heterogeneous spaces, bringing quality and comfort to spaces and users.  © Nelson Kon  This posting includes an audio/video/photo media file: Download Now |
| Posted: 11 Apr 2018 01:00 AM PDT As Shanghai works hard to become an international economic, financial, trade and shipping center of the world, the city powers behind to keep up with the ever-growing needs. Joe Natis' video follows the demolition of the buildings that didn't quite make the cut for the fast-paced 21st century living as soaring skyscrapers and developments take their place.  © Joe Nafis In the video, the cranes can be seen effortlessly eating away at the buildings - as if they were built out of paper and sticks – as the new structures spout out of the ground in what seems seconds due to their incredibly efficient construction systems. Natis perfectly captures the monumental scale of the developments in his aerial documentary 'Demolish.'  © Joe Nafis  © Joe Nafis Over the years, Shanghai has been subject to many changes to evolve into the international metropolis it is today. The 20-year Shanghai Urban Masterplan in 1999 proposed to further develop the riverside, coastline and the Pudong New Area, which concerned urban restructuring to create "multiple centers" amidst the open central cities. The more recent masterplan schemes aim to reflect the opinions and advice of the people of Shanghai by setting in place many public participation mechanisms. Story via: Joe Nafis.  This posting includes an audio/video/photo media file: Download Now |
| SMAR Architecture Studio Selected as Winners of Science Island Design Competition Posted: 10 Apr 2018 11:00 PM PDT  © SMAR Architecture Studio Kaunas City Municipality has announced SMAR Architecture Studio as the winners of the Science Island International Design Contest for Lithuania's new National Science and Innovation Center. SMAR's design was the highest ranked of three winners in the Design Contest, which was the most popular in Lithuania's history attracting 144 teams from 44 countries.  © SMAR Architecture Studio Dr. Fernando Jerez, Founder and Creative Director of SMAR Architecture Studio, references the existing landscape of the unique site in the center of the city as the driving force of the design, which is "topped by a sloping and reflecting upper disk". The €25 million will be located on Nemunas Island in the Nemunas River, very close to Kaunas' historic Centras district.
 © SMAR Architecture Studio The detailed design phase is set to be complete by early 2019, with the center expected to open in 2021 just ahead of Kaunas' term as European Capital of Culture 2022.  © SMAR Architecture Studio The Design Contest was organized by Malcolm Reading Consultants. Competition Director and jury chair Malcolm Reading said of the project, "Science Island has the ingredients to be a major international success: a well-conceived project, a very committed client and an outstanding design team." News via: Malcolm Reading Consultants.
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