Arch Daily |
- New Showroom and Storage Facilities / Jereb in Budja arhitekti
- Skanderbeg Square in Skopje / qb Arkitektura + BINA + Besian Mehmeti Architects
- YKH Associates HQ in Seoul / YKH Associates
- A Draped Wall in Ikebukuro / Tailored design Lab
- Rosewood Sanya and Sanya Forum / Goettsch Partners
- Canada House Dublin / Powerhouse Company
- Altneuhaus – Extension of a Holiday Home / Roland Unterbusch Architekt
- Adjaye Associates Transform Electrical Switching Station Into Empowering Art Wall
- Hairdressing Salon / OBJECTO
- World's Largest Single-Roof Performing Arts Center by Mecanoo Nears Completion in Taiwan
- Technical Center of Blagnac / NBJ architectes
- Why Snøhetta's "A House to Die In" Is One of Norway's Most Controversial Construction Projects
- Villa G / GAAP studio associati
- MX3D Completes Structural Span of World's First 3D Printed Metal Bridge
- Gensler to Renovate Cleveland Cavalier's Quicken Loans Arena
| New Showroom and Storage Facilities / Jereb in Budja arhitekti Posted: 13 Apr 2018 10:00 PM PDT  © Blaž Budja
 © Blaž Budja Text description provided by the architects. As the architect travels across the picturesque knolls of Slovenija's Dolenjska region, his journey starts and finishes with an evaluation of the present. The views of Zaplaz – a pilgrimage centre above the town of Čatež, are all framed by rounded shapes of the hilly landscape. The spots where the soft hills and valleys meet are accentuated by two churches and three steeples. The factory, which sprouted at the edge of the village in the 1980's, stands as the main generator of social life for the wider area.  © Blaž Budja  Floor Plans  © Blaž Budja A precast concrete slab entry/administration hall, by itself, forms a charming passe-partout to the emerging complex. Extending an invitation to the visitor, it is its ambition to bring the massive structure of the factory into a scale the individual still perceives as tolerable in relation to its environment, both built and natural. The new factory extension is fully sunk into the terrain, with the publicly-accessible plaza in front of the showroom linking the existing and the new entrance, thereby creating a field of transition, where the existing structure is submerged into the new.  © Blaž Budja The new building is formed by the subtraction of volumes. At the point of contact with the existing building, its predominantly concrete facade dematerializes into steel slats. The company philosophy of the client – TEM Čatež, is founded on the value of quality interpersonal relationships. Therefore its owners are committed to building an environment, that enables the holistic well-being of the individual, and which in turn, is shown in the extraordinary business accomplishments. Their new work environment shows how even a utilitarian factory building can grow into an environment made to human measure.  © Blaž Budja  Elevations and Sections  © Blaž Budja  This posting includes an audio/video/photo media file: Download Now |
| Skanderbeg Square in Skopje / qb Arkitektura + BINA + Besian Mehmeti Architects Posted: 13 Apr 2018 07:00 PM PDT  © Rilind Hoxha
 © Betim Berisha Urban context  © Rilind Hoxha The main objective of the project is to integrate the area above the boulevard as an extension of public urban spaces, that is, their qualitative and quantitative expansion. Skanderbeg Square becomes part of a number of thematic squares on the main pedestrian axis in the city; along the Macedonia Square through the Stone Bridge, all the way to the historic Old Bazaar.  © Rilind Hoxha Architectural concept  © Rilind Hoxha Material Plan  Section  Situation  Section The Skanderbeg Square is already a grand scene of freedom. It is an open space, so that people and crowds can come together and talk, support and protest; a place to organize a wide range of events and cultural manifestations: concerts, outdoor performances, fashion shows, places for recreation, youth festivals, amusement parks… one transformable space, depending on the needs of its users.  © Betim Berisha  This posting includes an audio/video/photo media file: Download Now |
| YKH Associates HQ in Seoul / YKH Associates Posted: 13 Apr 2018 03:00 PM PDT  © Jeongkyu Lee
 © Jeongkyu Lee Text description provided by the architects. This building was designed to house YKH Associates Architects in Seoul, Korea to include at least 40 work-stations, a large conference room, two small conference rooms and two separate offices for two principals and a roof garden. The site is a small, long rectangular shaped area of 219 Square Meters with a level difference of 4 meters between a 4M-wide road and a 6M-wide road located in the tight residential area of Gangnam Gu, Seoul, Korea. The building code allowed FAR of 200% and maximum site coverage of 60%; there was an additional building code requiring a diagonal sun-light path on northern side for neighbors.  © Jaechul Yu With a very limited funding available, we were trying to plan a maximum allowable area within the legal boundary; we chose a simple box format with a minimum number of openings to reduce the construction cost. Our aim was to build the most cost-efficient building with 'landmark' quality; rather than inserting a simple vertical stair, we chose a wraparound stair for fire escape as well as for our staffs to move efficiently. This exterior staircase connects the entire building and outer skin of the stair was clad with the same brick with a solid-void pattern to allow the air circulation. This method allowed a lesser maintenance cost by reducing the interior space as well as a tighter security control by floors.  Mass Process Diagram In order for the building to have an 'old & solemn presence' despite its simple shape, we chose used-antique white bricks to clad the entire building including the staircase. Over 80,000 bricks were washed and ground from the factory and the white cement mortars with a thickness of 12mm and a depression of 10mm to bring out the natural look of the old bricks.  © Jaechul Yu The B1 level conference room was transformed into a café open for public; this café is used as a large conference room as needed basis and the interior of café is designed to maximize the coffee roasting and serving area. The elevator connects the entire building, however, the B1 level entry utilizes the fingerprint security to allow only our employees.  © Jaechul Yu We planted a 40cm-thick natural grass on the rooftop area to be used as a rest area for employees. To allow more 'green' and 'daylighting' entering into working space, bamboo trees were planted on the 4th level principal's office and a sunken B1 level. The code-required 4 parking spaces were placed next to each entry of 1st and B1 level; this allowed minimal excavation thus reduced a considerable amount of construction cost.  © Jaechul Yu  Section  © Jaechul Yu  This posting includes an audio/video/photo media file: Download Now |
| A Draped Wall in Ikebukuro / Tailored design Lab Posted: 13 Apr 2018 01:00 PM PDT  © Yuji Nishijima
 © Yuji Nishijima Text description provided by the architects. This project is to renovate 19-year-old apartment in Minami-Ikebukuro. The building is located in very convenient and busy neighborhood, which is a few minutes walk from one of biggest terminal station in Tokyo.  © Yuji Nishijima The client is a young double-income couple, who wish to have a child in near future, however, they are currently pursuing their careers. Because of such busy lifestyle, they need a space to relax at home.  Plan 1/50 The apartment has three windows facing south, north and east, which is very privileged for central Tokyo, and thus we wanted to respect the view overlooking cityscape and Mt. Fuji, breeze and natural light. However, on the same walls, there were also items that we wanted to hide, such as sash, beams, and air conditioner.  © Yuji Nishijima So we inserted a drape-like wall inside the existing building, and made "Alcove" which became spaces for a bedroom and kitchen etc. Then, we created openings like Proscenium arch for theater on the drape wall to dramatize everyday walking through the living room to the "Alcove". By doing so, we could maintain a sense of unity as a whole living room while respecting indivisuality of bedroom and kitchen spaces.  © Yuji Nishijima Inner side of "drape wall" is the central place for living, and the necessary functions such as kitchen, workspace, bedroom and future child's room are allocated in the "Alcove". Looking through the arches of the drape wall, even miscellaneous household goods can be seen as props in the play that makes life colorful. Everyday vibes in the Alcove is transmitted from small arches to the whole, as if the play performed on the stage is conveyed to the audience seating. The light from the windows also spreads reflecting the color inside the alcohol.  © Yuji Nishijima For a busy working couple, this space where you can always feel each other while having your own time and space will enrich their new life in central Tokyo.  This posting includes an audio/video/photo media file: Download Now |
| Rosewood Sanya and Sanya Forum / Goettsch Partners Posted: 13 Apr 2018 12:00 PM PDT _Shen_Zhonghai__1st_Image.jpg?1520492889 "© Shen Zhonghai") © Shen Zhonghai
_Shen_Zhonghai__1st_Image.jpg?1520492796 "© Shen Zhonghai") © Shen Zhonghai Text description provided by the architects. Located at the southern end of Hainan Island in the city of Sanya, China, the complex focuses on two conceptual design elements: a "lighthouse" for the hotel and serviced apartment tower and a complimentary "rock formation" for the convention center. The 46-story hotel and serviced apartment tower rise from a conceptual outcropping of rock to become an iconic symbol of Haitang Bay, its glowing beacon visible from any direction. A unique resort in the sky, the building is organized vertically, with the arrival sequence, landscape, and incorporation of water and views all considered integral to the guest experience.  Site Plan The amenity-rich resort is purposely designed to be intimate and exclusive, offering a limited 246 generously sized rooms—all with ocean views and individual terraces, some with their own plunge pool. The 465 serviced apartments are located in the main tower, which sits immediately behind the low, linear bar of hotel rooms. The top of the tower features a multilevel club for the exclusive use of the apartment residents and culminates in the iconic "lighthouse beacon." The Sanya Forum is designed as a premier convention facility, catering to national and international economic and political summits, as well as a variety of other meetings and special events. _Shen_Zhonghai__1st_Image.jpg?1520492906 "© Shen Zhonghai") © Shen Zhonghai The building's rock-like mass is designed to be bold yet approachable. Once inside, a unique volume of space opens across multiple levels, with areas for meetings and formal ceremonies. The multifunctional building accommodates large events with an exhibition hall, a ballroom, and forum space that can serve formal state gatherings, as well as private weddings and parties. The building also provides a variety of other meeting spaces, along with a large VIP meeting, gathering and reception area at the top with an outdoor terrace overlooking the ocean. The design culminates in the private rooftop garden, with exclusive spaces juxtaposed against expansive ocean views. _Chen_Ji.jpg?1520492756 "© Chen Ji") © Chen Ji  Section _Shen_Zhonghai__1st_Image.jpg?1520492868 "© Shen Zhonghai") © Shen Zhonghai  This posting includes an audio/video/photo media file: Download Now |
| Canada House Dublin / Powerhouse Company Posted: 13 Apr 2018 10:00 AM PDT  © Kim Zwarts
 © Kim Zwarts Text description provided by the architects. For a firm operating in the world of air travel, Powerhouse Company designed an office interior with streamlined curves and luxurious finishings. The 6,500 m² interior design includes an inviting entrance lobby with a restaurant, large congress room, fitness area, four office floors and an executive floor at the top of the building, and seeks to evoke the timeless glamour of travel. The material palette includes local natural stone, wood veneers, high-quality fabric and carpet, glass partitions and curved design lines, which give the interior a sleek, streamlined feel. Whether waiting in the mid-century-modern lobby or ascending the winding wenge staircase, the golden days of air travel are never far away. At the same time, the elegant interior aims for the highest standards when it comes to sustainability, setting the tone for the future.  Ground Floor Plan Making movement possible  © Kim Zwarts Future proof through flexibility and interaction  Second Floor Plan  © Kim Zwarts  Fifth Floor Plan Details and craftsmanship  © Kim Zwarts Elegant and sustainable  © Kim Zwarts  This posting includes an audio/video/photo media file: Download Now |
| Altneuhaus – Extension of a Holiday Home / Roland Unterbusch Architekt Posted: 13 Apr 2018 08:00 AM PDT  © 24milimeter.com
 © 24milimeter.com Text description provided by the architects. An aging cottage from the 1970s should be a modern extension building to the side. Old and new develop a relationship with each other that does not initially rely on superficial optical unity or meaningful togetherness. The combination of the two structures is defined by purposefully used opposites - such as light and dark, low and wide, symmetrical and asymmetrical, hard and soft, old and new.  © 24milimeter.com  Floor plan  © 24milimeter.com The extension will be built in size and proportion on a footprint corresponding to the old building. Axial interior covers are continued and enriched with variations in height and exposure. The result is an atmospherically dense, intimate sequence of rooms with changing moods and different light conditions. In addition to a bright fireplace room, the extension receives a restrained illuminated sleeping chamber. We like the idea that the old and the new first form over time into an optical unit.  SectionSite  © 24milimeter.com  This posting includes an audio/video/photo media file: Download Now |
| Adjaye Associates Transform Electrical Switching Station Into Empowering Art Wall Posted: 13 Apr 2018 07:00 AM PDT  Courtesy of Adjaye Associates Adjaye Associates has unveiled images of its proposed reconceptualization of the protective façade of an electrical switching station into an engaging "Art Wall" in Newark, New Jersey. The 30-foot-high walls of the Fairmount Heights switching station will be transformed into a canvas for original works of 14 local and international artists, exploring themes of youth, education, and community, while a canopied passageway will house a market, art installations, and gathering space.  Courtesy of Adjaye Associates  Courtesy of Adjaye Associates The 1,790-foot-long, pre-cast concrete wall encompassing the substation will contain niches for permanent artworks to be embedded into the façade. The collection has been curated in response to changing levels across the site, allowing the work to remain at the observer's eye-level. Along the eastern elevation, a public realm is defined by 34-foot-high columns merging into 49 canopy tops, supporting an overhead art installation while providing shelter for a gathering space and market.  Courtesy of Adjaye Associates
 Courtesy of Adjaye Associates The scheme's balance between infrastructure and community extends beyond aesthetics, with 30% of the construction carried out by local residents, and a prioritization of locally sourced materials and contracts. Six of the artists producing work for the scheme are local to Newark, with other artists hailing from Jamaica and Venezuela.  Courtesy of Adjaye Associates To deliver the scheme, Adjaye Associates worked with collaborating architects WSM Associates, structural engineer Garden State Engineering, lighting consultant Regency Lighting, and construction manager Jingoli Construction. The station is expected to be completed in the summer of 2018. News via: Adjaye Associates  This posting includes an audio/video/photo media file: Download Now |
| Posted: 13 Apr 2018 06:00 AM PDT  © Marco Cappelletti © OBJECTO
.jpg?1522656941 "© Marco Cappelletti © OBJECTO") © Marco Cappelletti © OBJECTO Text description provided by the architects. The project consists of a response to the morphological conditions of an existing space and to a specific program, a Hairdressing Salon in the center of Lisbon. The program articulates five areas: Waiting area; Cutting area; Makeup area; Wash house; Cabinets and Technical areas (Color bar, store room, employers room, laundry room, public and private bathroom and a meeting room). The spatial design is naturally conditioned by the pre-existence of a space and the presence of its structure. .jpg?1522656977 "© Marco Cappelletti © OBJECTO") © Marco Cappelletti © OBJECTO  Ground Floor Plan .jpg?1522656960 "© Marco Cappelletti © OBJECTO") © Marco Cappelletti © OBJECTO The space is now abstract, fluid and free of infrastructures, punctuated by various objects (furniture) in Portuguese marble or black steel. The ceiling height varies according to the different areas. The first and the shorter one is the waiting area, surrounded by a translucid white curtain that separates it from the cutting area. The highest ceiling area is characterized by a golden cylinder with a black velvet curtain/door, nuclear structure where the hair washing function is performed. .jpg?1522657074 "© Marco Cappelletti © OBJECTO") © Marco Cappelletti © OBJECTO  Cross Section .jpg?1522657053 "© Marco Cappelletti © OBJECTO") © Marco Cappelletti © OBJECTO All the walls and ceilings are finished in stained stucco. The floor in micro-cement is present in all the space, with the exception of the waiting zone in which the existing floor (black marble) was maintained. The proposal intends to create distinct moments of experience, with transitions and successions of fluid spaces and free objects that suggest a kind of choreographic composition, activated through the movement of the bodies that will experience this space. .jpg?1522657090 "© Marco Cappelletti © OBJECTO") © Marco Cappelletti © OBJECTO  This posting includes an audio/video/photo media file: Download Now |
| World's Largest Single-Roof Performing Arts Center by Mecanoo Nears Completion in Taiwan Posted: 13 Apr 2018 05:15 AM PDT  © Iwan Baan Taiwan has announced the scheduled October 2018 opening of the Mecanoo-designed National Kaohsiung Center for the Arts, also named "Weiwuying." The Mecanoo scheme incorporates five state-of-the-art performance spaces under a single roof which, at 35 acres (141,000 square meters), stands as the world's largest performing arts center under one roof. Set across a 116-acre (470,000-square-meter) subtropical park in the southern Taiwanese city of Kaohsiung, the scheme will occupy a former military training base, symbolizing the city's transition from a major international harbor into a rich, diverse, cultural hub, connecting local and international artistic talent. When open, the scheme will host performances by the world's top artists, including the Berlin Philharmonic Orchestra, in a variety of performance spaces. A 2,260-seat Opera House with a "proscenium" arch design will be equipped with the latest stage technology. A 2,000-seat Concert Hall in "vineyard style," with seats surrounding the performance stage at all sides, will feature a 9,085-pipe organ, the largest ever built in Asia.  © Iwan Baan  © Iwan Baan The scheme is also complete with smaller performance spaces, comprising a flexible 1000-1200 seat Playhouse, 470-seat Recital Hall. Connecting the building with the surrounding park, an outdoor performance space will host audiences of up to 20,000 people.
The October opening of Weiwuying will see the completion of three flagship institutions for the National Performing Arts Center, an umbrella group also incorporating Taipei's National Theater and Concert Hall and Toy Ito's National Taichung Theater. News via: Mecanoo
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| Technical Center of Blagnac / NBJ architectes Posted: 13 Apr 2018 04:00 AM PDT .jpg?1523481060 "© Paul Kozlowski") © Paul Kozlowski
.jpg?1523481043 "© Paul Kozlowski") © Paul Kozlowski Text description provided by the architects. Located next to an expressway, the Technical Center of Blagnac was built in the middle of a neighborhood characterized by a highly industrialized program. Nevertheless, a classified forest and a cemetery are located just next to the site. These elements constitute the principal specificity of this program. The architectural and urban will aim to constitute a real urban piece, able to create a strong entrance to this area and able to dialogue with its environment. The idea is to establish a visual identity while answering the main objectives of the program. .jpg?1523481252 "© Paul Kozlowski") © Paul Kozlowski The building opens a double dialogue with the landscape. His position constitutes an envelope with the site, minimizing the incoming nuisances and ensuring a sound protection. The ground floor was treated in a unit way and accommodates the activities of the technical center (workshops, storage spaces). The upper part is the cradle of the offices and the places of life of the municipal staff. The façade is made of Equitone fiber-cement panels which create a double skin. The slope and the perforations of these aim to obtain technical and acoustic performances able to offer comfort to the offices. This device gives the opportunity to create a large terrace linked with spaces of relaxation and restoration and create an accessible and convivial place. .jpg?1523481112 "© Paul Kozlowski") © Paul Kozlowski The aspect generated by the form and materials used enters in dialogue with the surrounding landscape, breaking with the usual image of a technical center. .jpg?1523481030 "© Paul Kozlowski") © Paul Kozlowski  Sections 1-50 and 1-100 .jpg?1523480980 "© Paul Kozlowski") © Paul Kozlowski The project seeks to fit carefully in the site, as a topographic line which would come to be folded up to constitute interiority and at the same time offer a true urban frontage guarantor of its insertion in the territory. .jpg?1523481085 "© Paul Kozlowski") © Paul Kozlowski  This posting includes an audio/video/photo media file: Download Now |
| Why Snøhetta's "A House to Die In" Is One of Norway's Most Controversial Construction Projects Posted: 13 Apr 2018 02:30 AM PDT  Rendering of proposed design for A House to Die In, as seen ascending the hill. Image © MIR and Snøhetta This article was originally published by Metropolis Magazine as "Inside the Design of Norway's Most Controversial Building." The sun is setting fast over a half-frozen hill about five miles west of Oslo. Named Kikkut after a now-demolished villa, the site neighbors Ekely, the old estate of Edvard Munch (itself now half razed), and save for some graffiti-covered detritus and an early crop of spring wildflowers, its peak is totally barren. Squinting northward to Munch's Winter Atelier some 500 feet in the distance, it's hard to believe this is the proposed site for A House to Die In: one of the most controversial building proposals in recent Norwegian history. The brainchild of Norway's enfant terrible artist Bjarne Melgaard, the proposal for "A House to Die In" is a luminescent, UFO-like living sculpture that doubles as a studio and home for Melgaard and his parents. With financial backing from two of the most powerful property developers in the country, the Selvaags and Sealbay A/S—longterm friends of the artist who also supplied the plot of land on the outskirts of the city—the Oslo-based Melgaard approached local Norwegian firm Snøhetta in 2011 with his idea for a combined artwork, studio—and final resting place.
 Detail of the half-cubist, half-teddy bear support columns, which take on varying degrees of algorithm-assisted abstraction. Image © MIR and Snøhetta With its ambiguous forms and incorporation of landscape, Snøhetta's work has often betrayed a penchant for the weird and whimsical. It's little surprise, then, that the architects found a perfect match in Melgaard's notoriously saucy and controversial practice: an ever-growing list of scandals that includes a 2014 sculpture dubbed the "racist chair" by news outlets, and an ongoing project titled The Casual Pleasure of Disappointment, in which Melgaard appropriates the aesthetics of Narcotics Anonymous to critique celebrity and fashion culture (even taking a dig at Rihanna in 2017). Perhaps equally unsurprising, Melgaard's signature paper trail of negative press has followed "A House to Die In," lobbying criticisms which architects from Snøhetta say are largely unfounded. "It's shocking to read these reports of the project from journalists who haven't engaged with us or Melgaard at all," marvels the project architect Martin Brunner, on a recent afternoon in Snøhetta's offices in central Oslo.  View from Munch's Winter atelier with lines indicating where the House to Die In will stand on the site. Image Courtesy of Snøhetta "Many suggest we are building directly upon Munch's estate, or just next to his property, when in fact the site for the House is across the road and over 500 feet away," adds the second project architect Jenny Osuldsen, who came on board in 2013 following the proposal's first rejection at the national level. "The so-called 'facts' are all made up. It's literally fake news," she insists. A trio of models in Snøhetta's office are evidence of the nearly decade-long engagement between architects and artist; only one of them looks anything like the initial renderings. Although the project architect Martin Brunner admits to serving "like Melgaard's secretary" at times, he regards the otherwise collaborative process as an immeasurably valuable lesson in architectural synesthesia. "All of our standard procedures and tools had to be reconsidered," says Osuldsen, "We were basically interpreting Melgaard's work like musicians." Working closely with the opinionated artist, Brunner and Osuldsen were forced to re-think their design approach, which had at first consisted of translating Melgaard's sketches into three dimensions in Rhino—deemed by the latter as too obvious a solution. They slowly developed a more iterative procedure conveyed in a series of dizzying, a posteriori tapestry-like diagram charts that track the movements of ideas. Melgaard's bullet-point comments within the drawings—"too neat," "too repetitive"—prompted changes to the house's silhouette, for example. Snøhetta ultimately arrived at a design that retains about 10 percent of their initial proposal, which involved a house that looked "too much like a house," according to Melgaard.  An early-stage rendering of the House's first design that reveals the design process of the animal-shaped columns, at which time were to be concealed underground in the artist's private studio space. Image Courtesy of Snøhetta Yet they eventually found their groove, with Snøhetta transforming Melgaard's signature candy-colored stuffed animals into "half Cubist, half teddy bear" columns for the amorphous vessel above. Before the first year of their partnership was out, the team had a solid design in place. They submitted it to the city municipality for approval: Bingo. They then took a victory leap to the national heritage council, who rejected it "totally without reason," says Osuldsen. "We had to ask them, 'Is this about our proposal, or is this actually about not building on the site at all?'" Yet local press begged to differ, with the Norwegian Morgenbladet blasting the "paranoid and monumental death architecture… a subjective dream world supported by an apparently boundless approach to money," shortly after the project was exhibited at London's ICA in 2012. As they were to soon discover, the reason was buried deep in the cultural memory of the landscape that anchored the House's design. "We were dealing with a pro bono plot of land with plenty of historical baggage," explains Osuldsen. "It's not so simple as just relocating the project, or building it somewhere else. The site and the project have always been seen as one." Unfortunately for Snøhetta and Melgaard, that way of thinking is a two-way street. The proposal has been met with opposition from local artists, who, according to Brunner, view the project "as a desecration of holy ground because of its connection to Edvard Munch." Things have become heated, even taking the form of ad hominem attacks (including homophobic graffiti slandering Melgaard). But the dissent has largely been civil, with opponents drawing attention to an endangered species of flower recently discovered on the site, which has landed the project back into planning purgatory. The House's third and current redesign is a considerably shrunken permutation (even smaller than the original Kikkut Villa demolished 28 years ago) that does not encroach on the public side of the hill, a space which the artist always intended to be public. And despite the convoluted restrictions and huge overhaul of the House's design, Melgaard and Snøhetta are delighted with its final form, a jagged, crystalline mass of charred timber, complete with glowing engravings and perched on cubist creature-shaped columns. "I don't want to say the process was a pleasure, but the design has definitely benefited from all the constraints," Brunner shares with a sly smile. "It's really matured."  View from Munch's Winter atelier with lines indicating the old villa that previously stood on that site. Image Courtesy of Snøhetta Melgaard's whimsical structural figurines, arguably the most endearing part of the final design (and the architects' own favorite), were once hidden underground in a secret studio space. Now, they emerge from the woodland. It's a detail that is sure to appeal to students of the elementary school nestled at the base of the hill. Moving beyond its general silhouette, many of the proposed building's once inward-facing delights are now extroverted—like Melgaard's own creaturely etchings upon its burned wooden exterior, which will now be fitted with backlit glass. The intended effect is a sort of tapestry of glowing illustrations whose black background blends into the starry sky above: An astronomical change to the hermetic original design. Today, the proposed project once again finds itself up against the heritage council. This will be its final lap around, whichever way the cards might fall. Even if Munch "has not—and never—played a role in the process, or Melgaard's practice," according to the Snøhetta and Melgaard, who has openly denied an interest in Munch's legacy—one can't help but notice the uncanny similarities between the two artists, whose creative visions have always shared an outsider's space on the fringes of society. Even if A House to Die In seems to cultivate more of a hedonistic crash pad for a contemporary art star than the melancholia of Munch's frugal tomb, it wouldn't seem so odd for the artist's final resting places to converge here, too.  This posting includes an audio/video/photo media file: Download Now |
| Villa G / GAAP studio associati Posted: 13 Apr 2018 02:00 AM PDT  © Fernando Guerra | FG+SG
 © Fernando Guerra | FG+SG Text description provided by the architects. Villa G is located in Pantogia, a hill facing the wonderful Pevero bay, just two steps from Porto Cervo, an exclusive vacation place for the international jet set.  © Fernando Guerra | FG+SG The original villa, composed by two different houses built during the '70s on a plot of 5'000 Sqm, has been completely refurbished and enlarged; only its structure has been maintained.  Ground Floor Plan The project has been the occasion to insert a new architectural concept inside a system where both the building systems and the architectures are strongly connected to the tradition. The villa has been designed looking for an harmony between the strong rigid lines of the existent building and the soft lines of the natural surrounding looking for a continuity between the interior and the outdoor areas.  © Fernando Guerra | FG+SG The swimming pool has been designed in order to create a scenography between the sky and the see and develops itself on a fluid drawing around a centuries-old tree.The garden has been projected respecting the existent rocks and the important trees species sited in the plot. Inside the garden take place a ring pedestrian way that surrounds the villa and that slowly discovers different layers of the garden: a playground area, a vegetable garden and a relax area.  © Fernando Guerra | FG+SG The project is composed by materials, forms and colors harmonizing with the typical ones: elm wood, granite, corten and Lapitec creates a reinterpretation in modern key of the local architecture that becomes now suitable for the contemporary living.  © Fernando Guerra | FG+SG  Section  © Fernando Guerra | FG+SG The house is fully automated: lighting, heating, air conditioning, skylights, cameras, and much more can be in fact controlled and commanded through a special application installed on tablets located in every rooms as well as on the Owners' mobiles.  © Fernando Guerra | FG+SG  This posting includes an audio/video/photo media file: Download Now |
| MX3D Completes Structural Span of World's First 3D Printed Metal Bridge Posted: 13 Apr 2018 01:00 AM PDT  via MX3D Late last year, we reported on the progress of world's first 3D printed steel bridge designed by Netherlands-based MX3D. With the design now finalized, the start-up company has announced that the span of the bridge is now complete. The final round of structural tests is expected to take place this summer, just three years after the project was first announced. After the structural integrity has been tested, the final design will be modified and the completion of the bridge will follow only a few months after. MX3D hopes to showcase the potential of their multi-axis 3D printer during the Dutch Design Week, and the first of its kind bridge is planned to be installed into its final location in a canal in Amsterdam sometime next year. Read more about our past coverage of MX3D's bridge below. News via: MX3D. Work is Underway on the World's First 3D Printed Metal Bridge" MD3D to Print a Bridge in Mid-Air over Amsterdam Canal"  This posting includes an audio/video/photo media file: Download Now |
| Gensler to Renovate Cleveland Cavalier's Quicken Loans Arena Posted: 12 Apr 2018 11:00 PM PDT  Courtesy of Gensler The rust-belt city of Cleveland, Ohio is home to a number of famous architectural icons including Farshid Moussavi's Museum of Contemporary Art, Rafael Vinoly's Cleveland Museum of Art, and Frank Gehry's Peter B. Lewis Building at Case Western Reserve. Cleveland is also the site of the oldest publicly-owned NBA arena in the country that has yet to receive a major renovation. However, Quicken Loans Arena, home court to LeBron James and the Cavaliers, will be undergoing a large transformation to be spearheaded by Gensler. This new design, which will greatly improve the visitor experience and serve as a catalyst of the growth in Cleveland, will have all Cavalier fans excited to "Defend The Land" once the renovations are complete in 2019.  Courtesy of Gensler 'The Q' as dubbed by Cleveland fans, will be seeing a $140 million dollar upgrade and expansion which will allow the arena to host major events, and extend the lifespan of the Cavalier's home court. Designed through a collaborative effort by SHoP and Rosetti, Gensler will serve as the architect of record, responsible for transforming the exterior elements of the building, including new areas for outdoor events and modern solutions for arena entry challenges. The redesigned six levels of interior space will be expanded to increase the functionality of the main concourses and gathering areas. "We are thrilled to be working on this exciting transformation, says Gensler Firmwide Sports Practice Area Leader Ryan Sickman. "The growth and momentum in Cleveland is driving a new platform for development and success and The Q is a part of this landscape. It is rewarding to be part of such an impactful project that will help drive and reflect the community's growth and vibrant future for years to come. We're focused on delivering an enhanced user experience and expanded functionality while helping to create an all-new look and connectivity to the city." News via: Gensler. SHoP + Rosetti to Complete $140 Million Renovation of Quicken Loans Arena in Cleveland"  This posting includes an audio/video/photo media file: Download Now |
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