Arch Daily |
- Copenhagen Spirit / buro5
- The Office Cluj / Andreescu & Gaivoronschi
- The Geoff Handbury Science and Technology Hub / Denton Corker Marshall
- SMA to Design New Complex at Expo Guadalajara
- Proposed "Permeable" Mixed-Use Tower in Dubai Challenges Urban Density
- Villacelama Multisport Pavilion / QUIRÓS PRESA
- Take a 360 Video Tour of Zaha Hadid Architects' New Building on the High Line
- Somali Architecture Students Digitally Preserve Their Country's Heritage—Before It's Too Late
- Es Carnatge House / Miel Arquitectos
- In China, an Experimental Pavilion of Ceramic Bricks Fuses Craftsmanship and Digital Fabrication
- Spotlight: Peter Behrens
| Posted: 14 Apr 2018 10:00 PM PDT  © Luciano Spinelli
 © Luciano Spinelli Text description provided by the architects. The client has lived in Copenhagen for many years, so he feels comfortable in a minimalistic interior and without curtains on the windows. During his life in Copenhagen, the owner of this Moscow apartment was accustomed to a laconic atmosphere and the absence of curtains on the windows, so to make an interior in Scandinavian style, the only thing he needed was more paint.  © Luciano Spinelli  Plan  © Luciano Spinelli So in the interior, there were now fashionable shades of pink and blue, as well as furniture and accessories of Scandinavian brands. "The lack of curtains on the windows did not bother anyone - to the house opposite there are three hundred meters,". Area of 55 m² is located in a Stalinist house built in 1957. The architect did not have the opportunity for a radical redevelopment: the load-bearing wall and the beam pass through the apartment, so he combined only the kitchen and living room, and left the bedroom isolated.  © Luciano Spinelli Bearing beam, passing between the kitchen and the living room, successfully zoned space. The owner likes the simplicity of Scandinavian interiors, but at the same time he lacked color, so the facades of kitchen cabinets became blue and pink. The architect also dared to paint in the pink ceiling, and in order not to disturb his smooth and level surface, he treated the kitchen only with two light sources - sconces and fluorescent lights fixed on the beam. The battery made it difficult to put a table and chairs by the window, so we transferred the radiators to the wall.  © Luciano Spinelli Living room  © Luciano Spinelli Bedroom  © Luciano Spinelli Storage System  © Luciano Spinelli Bathroom  © Luciano Spinelli  This posting includes an audio/video/photo media file: Download Now |
| The Office Cluj / Andreescu & Gaivoronschi Posted: 14 Apr 2018 07:00 PM PDT  © Cosmin Dragomir
 © Cosmin Dragomir Text description provided by the architects. The Office Cluj, an office building ensemble recently finalized, has begun as an urban regeneration project for the brownfield plot left by the old textile industry, in the vicinity of Cluj-Napoca's historic centre. As in most communist cities, this area became part of the industrial framework of Cluj-Napoca, which even now includes some leftover industries and factories. To the north of the site, there still exists an old water channel, a small ramification of the Someș river while to the south there is the main boulevard and the main connection to the historic city centre, to the west.  © Cosmin Dragomir  Ground Floor Plan  © Ovidiu Micsa The whole ensemble is made of 3 parts developed in successive stages which form a small coherent city in the shape of a flat, cut out massive, penetrated by gateway streets, which reinterpret the existing typology of the historic part of the city, that of public gangways. The ground floor will offer a multitude of services, ranging from retail, coffee shops, restaurants to fitness spaces, public services and temporary exhibitions and at upper levels, class A offices.  © Cosmin Dragomir The Office Cluj ensemble, at an urban scale, has evolved into a small "city within the city", with it's three main gateways that connect the interior courtyards and urban plaza, all of this allowing both for a generosity in favour of the public space and an emphasis on semi-public and private spaces. The presence of works of art, public galleries, exhibitions, retail spaces etc. will generate an urban attractor that, in time, will play a significant role in the process of regeneration of the entire former industrial area. At a larger scale, in which the city of Cluj offers a particular silhouette from the surrounding hills, the ensemble is perceived as a relatively flat landscape unit, with a dominant horizontal stratification  © Cosmin Dragomir  Section 1  © Cosmin Dragomir  This posting includes an audio/video/photo media file: Download Now |
| The Geoff Handbury Science and Technology Hub / Denton Corker Marshall Posted: 14 Apr 2018 01:00 PM PDT  © John Gollings
 © John Gollings Text description provided by the architects. The new Geoff Handbury Science and Technology Hub at Melbourne Grammar School, is a simple, singular sculptural structure. It produces compelling imagery that alludes to the scientific and technological investigations taking place within. The School's brief was to create a unique kind of science and technology centre; a facility that will support staff and students today and into the future.  © John Gollings The building is sympathetic to the campus heritage and identity, contributing to the 'Bluestone Campus' character in both form and colour. It also maintains definition of the existing neighbourhood streetscape, in a calm and quite way with a gently curving corner and ends.  Courtesy of Denton Corker Marshall Separated from the central campus built form, the building, located on the south east corner, also engages with the wider campus landscape. The curved building form is a clear and direct response to the main oval, its physical presence heightened as a stand-alone building. The curved bleachers and overlooking porch, edge the oval while at roof and sky level, an activated, open and covered learning area linking to a green roof garden has been created.  © John Gollings Entry to the building is via a raised, gently ramped pathway, leading to a covered entry.  Section A  Section B The layout it based upon a Central Hub for staff, promoting teaching staff and technician collegiality. This contains a staff workroom, a centralised lab preparation room, spaces for quite staff / staff and staff / pupil discussions, and staff amenities.  © John Gollings Two flexible, formal pedagogical arms for laboratories and classrooms lead from the Hub, one to the north and one to the west. These zones are connected via a Learning Commons Atrium, at the heart of the building. This light filled, open and transparent space ties the formal pedagogical components together and contains a variety of informal collaborative settings for students, enhancing interconnectivity and promoting interaction. It also contains a dynamic and generous 2.5 metre wide stair. The stair's sculptural curved shape follows the natural circulation path around a transparent meeting room on the central axis, with views through the Atrium to the oval and school campus beyond.  © John Gollings Dispersed around the outer Atrium ring are a variety of informal breakout zones including open collaborative lounges and private study zones, designed in collaboration with educators to facilitate concentration, learning and engagement of students.  © John Gollings The ground floor and entry level to the Atrium also links Design and Technology on the lower ground level with laboratories, classrooms and super-labs on the upper levels, and provides large project and industry spaces where science and technology can mesh. The new building creates an educational environment that supports student enquiry, creativity, learning and social interaction.  © John Gollings Sustainability Statement  © John Gollings A Bubbledeck void spacer concrete slab system allows for large internal spans, reduced concrete use and provides exposed concrete soffits for thermal mass. Active chilled beams are used throughout to reduce energy consumption and operational noise, while providing opportunities for education through exposed systems.  Courtesy of Denton Corker Marshall PV skylights integrated into the building fabric were commissioned thanks to fund-raising from a student environmental group, providing both natural light into the learning laboratory below and electricity generation.  © John Gollings Rainwater is harvested and stored in large capacity tanks buried beneath the oval. Data from environmental building initiatives is available for students to study so that performance can be monitored and used as an education tool.  Courtesy of Denton Corker Marshall  This posting includes an audio/video/photo media file: Download Now |
| SMA to Design New Complex at Expo Guadalajara Posted: 14 Apr 2018 09:00 AM PDT  © Sordo Madaleno Arquitectos. Render by SMA The Expo Guadalajara Technical Committee invited five different Mexican architecture studios to participate in the design competition for the conceptual proposal for the extension of this trade fair venue in the capital of Jalisco state. Following a lengthy competition period, Sordo Madaleno Arquitectos has been selected as the winner with a conceptual project that takes as its main objective: the creation of a multifunctional space with an important urban interaction. The final Project will be constructed in a 12,000 square meter site, at the intersection of Mariano Otero and Las Rosas Avenues, in Guadalajara city and it will part of the Expo Guadalajara’s renovation project. With the intention of amplifying sensations and activities towards the city, Sordo Madaleno Arquitectos’ design includes an open urban plaza at the center, being the cohesive element of this new social meeting point that will integrate commercial, cultural, gastronomic, touristic and exhibition spaces.  © Sordo Madaleno Arquitectos. Render by CG Veró  © Sordo Madaleno Arquitectos. Render by SMA  © Sordo Madaleno Arquitectos. Render by SMA CreditsArchitects: Sordo Madaleno Arquitectos TeamProject Manager: Arq. Farid Hernández  This posting includes an audio/video/photo media file: Download Now |
| Proposed "Permeable" Mixed-Use Tower in Dubai Challenges Urban Density Posted: 14 Apr 2018 07:00 AM PDT  Courtesy of rgg Architects Dubai Nhabitat, a mixed-use tower proposed by Ankara-based firm rgg Architects, utilizes its own unique formal system to create "permeability through different materials and building tectonics." The tower is an aggregate of individual modules that can be enlarged or shrunk by an "8mx8m grid" based on programmatic needs, creating views and outdoor spaces unique to each spatial arrangement.  Courtesy of rgg Architects The proposal is comprised of a large number of hotel rooms and residences arranged around varying circulation schemes throughout the upper floors of the tower. Overall, the density of the tower mass is carved out in various places to introduce "social activity spaces" and terraces.  Courtesy of rgg Architects  Courtesy of rgg Architects Based on the principle of "isolated vertical urbanism," the tower affords individual residents the ability to shape and manage their respective natural environment. This is in contrast to the existing urban density dominating Dubai's business districts.  Courtesy of rgg Architects News via: rgg Architects.  This posting includes an audio/video/photo media file: Download Now |
| Villacelama Multisport Pavilion / QUIRÓS PRESA Posted: 14 Apr 2018 06:00 AM PDT .jpg?1523495822 "© Imagen Subliminal") © Imagen Subliminal
.jpg?1523495693 "© Imagen Subliminal") © Imagen Subliminal “An indoor sports centre that retains the feel of playing outdoors: a space that is bathed with natural light, allows panoramic views and blurs the boundaries between inner and outer space”. This conceptual idea presented two challenges: (i) to design a pavilion that, despite its large dimensions, was harmoniously integrated into its rural setting and (ii) the requirement to stick to a very limited budget. .jpg?1523495643 "© Imagen Subliminal") © Imagen Subliminal  Plan .jpg?1523495656 "© Imagen Subliminal") © Imagen Subliminal The resulting architecture consists of a skeleton of metal trusses that defines structure, space, facades and respective entrances for the public and stuff. From the exterior, the corrugated metal shell gives the appearance of floating over the transparent base, limiting the visual impact of the building and allowing the views. On the interior, the continuous glazed wall blur the boundaries between inner and outer space, and the saw-tooth roof reveals large polycarbonate skylights that bathe the space in natural light and limit its energy consumption. .jpg?1523495781 "© Imagen Subliminal") © Imagen Subliminal  Constructive Detail .jpg?1523495587 "© Imagen Subliminal") © Imagen Subliminal The pavilion, inaugurated in 2016 with a final cost of €275 per m2, hosts events from handball tournaments to popular festivities, presenting itself as the new activity centre for Villacelama's residents and neighbours. .jpg?1523495765 "© Imagen Subliminal") © Imagen Subliminal  This posting includes an audio/video/photo media file: Download Now |
| Take a 360 Video Tour of Zaha Hadid Architects' New Building on the High Line Posted: 14 Apr 2018 05:00 AM PDT  © Hufton+Crow In a recent video published by Metropolis Magazine, Ed Gaskin, a senior associate at Zaha Hadid Architects, takes us on a comprehensive tour of ZHA's 520 West 28th Street, the late architect's only project in New York City. The video describes the project's interesting relation to the adjacent High Line, as well as taking us through the lobby, courtyard and inside the residential units of the building.
 © Hufton+Crow One of the most beautiful aspects of the project is its materiality, and Gaskin goes into detail about the materials used and how the interior walls were constructed to create a "suspended moment of fluidity." The 360-degree video tour works to capture and provide more information on Zaha Hadid's flowing and fluid forms. Watch the video published by Metropolis Magazine here to find out more about this iconic project by ZHA.  © Hufton+Crow  This posting includes an audio/video/photo media file: Download Now |
| Somali Architecture Students Digitally Preserve Their Country's Heritage—Before It's Too Late Posted: 14 Apr 2018 02:30 AM PDT  via Somali Architecture Since the start of civil war in 1991, the political and architectural landscapes of the East African country of Somalia have been unstable. While the country's urban centers, such as the capital city Mogadishu, boast a diverse fabric of historic mosques, citadels, and monuments alongside modernist civic structures, the decades of conflict have resulted in the destruction of many important structures. And, while the fighting has substantially subsided in recent years, the future of the country's architectural heritage is still far from secure. In response, Somali architecture students from across the UK, Italy, and the United States have banded together to form Somali Architecture, an ongoing research project archiving and digitally "rebuilding" iconic structures through 3D models. Their goal is "to preserve the identity and authenticity" of Somalia through its architecture—both existing and destroyed. "We want each iconic building of the past to be reinterpreted for a more coherent future," they say. See below for a selection of the structures Somali Architecture has uncovered and re-constructed so far. National Assembly National Assembly. Image via Somali Architecture While Somalia has spent large stretches of time ungoverned since the 1991 collapse of President Mohammed Siad Barre's regime, the country's capital of Mogadishu once housed the modernist National Assembly complete with its sweeping entrance canopy reminiscent of Le Corbusier's Chandigarh. While the three-volume structure, punctured with two courtyards, was originally built in 1972, the current Assembly still hosts partial governmental activities after a partial restoration in 2012. Old Parliament The Old Parliament. Image via Somali Architecture The Old Parliament building was constructed in the early 1970s in the early years of Siad Barre's socialist government when the country was closely allied with the Soviet Union. Designed in a triangular shape with a brick facade, only the framework of the 15-meter tower along with a few exterior walls remain today. Arba'a Rukun Arba'a Rukun. Image via Somali Architecture Erected in 1260, Arba'a Rukun—commonly knows as the Mosque of the Four Pillars—is one of the oldest and most central Mosques in Mogadishu. It was recently restored with the help of Turkey. Roman Catholic Cathedral Roman Catholic Church. Image via Somali Architecture The Mogadishu cathedral was a monumental Catholic church designed by Italian architect Vandone di Cortemilia and constructed between 1925 to 1928. The cathedral held services for almost 70 years before the civil war forced its closure. By 2008, a majority of the building had been destroyed with only a single wall of the two Norman-inspired towers on the facade remaining. Hotel Al-Curuuba Hotel Al-Curuuba. Image via Somali Architecture Once a major landmark in the city, the curving, four-level Hotel Al-Curuuba served the influx of Italian tourists and dignitaries in the early to mid-1980s. Today, only three of the four floors remain standing with much of the building reduced to ruins, appearing as a skeleton of its former self. However, the pointed arches defining the Hotel's facade still reflect the character of the once palatial structure. National Theater of Somalia The National Theatre of Somalia. Image via Somali Architecture Officially opened in 1967 as a gift from Chinese leader Mao Zedong, the National Theater complex was once a central cultural landmark in Mogadishu playing host to a variety of performing arts. The floating theater supported by a series of thin pilotis and surrounding buildings were damaged in the early months of the civil war, where they would eventually serve as weapons storage. Since 2011, The structure has undergone significant redevelopment in hopes of reopening in the future. Mogadishu Lighthouse Mogadishu Lighthouse. Image via Somali Architecture The century-old Mogadishu Lighthouse is perched at the edge of city's Old Harbour overlooking the expansive Indian Ocean. The crumbling structure was once a beacon and landmark of the city's economic prosperity—serving as an important port city for years—before its eventual neglect in recent decades. Masaajidk Ishahaysiga (The Mosque of Islamic Solidarity) The Mosque of Islamic Solidarity. Image Image © ctsnow <a href='https://commons.wikimedia.org/wiki/File:Isbaheysiga_Mosque_in_Mogadishu.jpg'>via Wikimedia</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/deed.en'>CC BY 2.0</a> With financial support from Saudi Arabia, the Mosque of Islamic Solidarity officially opened in 1987 and served as the main Mosque for the city of Mogadishu for 4 years before its closure during the civil war. The Mosque re-opened in 2006 and underwent significant repairs in 2015. Benadir Regional Adminsitration Benadir Regional Administration. Image via Somali Architecture The two-story Benadir Regional Administration building once held the administrative arm of the regional government in its neoclassical wings perforated by moorish arches. These wings flanked a central plaza and grand entrance that is currently used by the Mayor of Mogadishu. See more from Somlia Architecture on their website and Instagram.  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| Es Carnatge House / Miel Arquitectos Posted: 14 Apr 2018 02:00 AM PDT  Cortesía de Miel Arquitectos
 Cortesía de Miel Arquitectos Text description provided by the architects. With the aim of shielding the house from the 3-storey semi-detached houses in this seafront neighbourhood, it was designed as a single-storey home with a capital H shape, consisting of two long parallel rectangles joined by a large open room in the centre.  Cortesía de Miel Arquitectos  Ground floor plan  Cortesía de Miel Arquitectos This open space contains the living room-dining room and extends outside through the 7 m wide windows on either side, each opening onto an outdoor patio. The capital H structure brings the outdoors into the living space and ensures privacy from neighbours. The orientation also makes the most of local wind patterns.  Axonometric The first long rectangle houses services: the garage, machine room, laundry room, kitchen, a bathroom and a guest bedroom. The second rectangle is the heart of family life: three double bedrooms and two bathrooms for current and future family members.  Cortesía de Miel Arquitectos El primer cuerpo contiene los servicios que ofrece la vivienda: garaje, cuarto de máquinas, lavadero, cocina y zona de invitados compuesta por habitación doble y baño. El segundo cuerpo organiza el corazón de la misma, los 3 dormitorios y dos baños de sus habitantes presentes y futuros.  Cortesía de Miel Arquitectos The long rectangles are made of local Marés stone, which is also found throughout the plot. Brown on the outside and white on the inside, the stone reveals its many subtle shades of colour with the changing light. Each of the long rectangle structures is topped with a green roof.  Cortesía de Miel Arquitectos CASA ES CARNATGE pursues the essence of Mallorca by reducing the number of materials and using the form of maximum expressiveness of each one (stone, concrete, weathered steel), so that formal richness is generated from the austere use of materials.  Cortesía de Miel Arquitectos  This posting includes an audio/video/photo media file: Download Now |
| In China, an Experimental Pavilion of Ceramic Bricks Fuses Craftsmanship and Digital Fabrication Posted: 14 Apr 2018 01:00 AM PDT  © Christian J. Lange Uniting the material intelligence of vernacular crafts with the precision and flexibility provided by the new digital design and manufacturing technologies, the Robotic Fabrication LAB of The Faculty of Architecture of HKU has developed the CeramicINformation Pavilion, with the objective of finding suitable levels of automation to be used for emerging and transitioning economies. Part of an evolving series, each of its 1,000 components is unique and relates specifically to its neighboring units. The elements are constructed through 3D printing and are made of terracotta brick, a material commonly used in modern Chinese construction.  Diagram In terms of digital design, approximately 1.5 million lines of code were generated, with each brick containing an average of 1,400 individual target-points. Despite this apparent complexity, the accuracy and clarity of the technology allowed its construction to be carried out in 20 days by unskilled labor, even without traditional architectural plans or details.  Diagram  © Christian J. Lange  © Christian J. Lange According to the design team, "the project not only highlights the new possibilities for architectural expression, but also the capacity these systems have to change the way in which we fashion the built environment."  © Christian J. Lange  © Christian J. Lange The project has been exhibited at the Bi-City Biennale of Urbanism and Architecture (UABB) in Shenzhen, China. Institution: Robotic Fabrication LAB, Faculty of Architecture, The University of Hong Kong  This posting includes an audio/video/photo media file: Download Now |
| Posted: 13 Apr 2018 11:00 PM PDT  The AEG Turbine Factory. Image © <a href='https://commons.wikimedia.org/wiki/File:Berlin_AEG_Turbinenfabrik.jpg'>Wikimedia user Doris Antony</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> If asked to name buildings by German architect and designer Peter Behrens (14 April 1868 – 27 February 1940), few people would be able to answer with anything other than his AEG Turbine Factory in Berlin. His style was not one that lends itself easily to canonization; indeed, even the Turbine Factory itself is difficult to appreciate without an understanding of its historical context. Despite this, Behrens' achievements are not to be underestimated, and his importance to the development of architecture might best be understood by looking at three young architects who worked in his studio around 1910: Le Corbusier, Mies van der Rohe, and Walter Gropius.  Peter Behrens portrait taken by Waldemar Titzenthaler c.1913. (Public domain) Born in Hamburg, Behrens moved to Munich in 1890 where he began his career as a painter, illustrator and bookbinder. In these years, he was part of Munich's art scene, and generally worked in the popular style of the time, Jugendstil (Art Nouveau). In 1899, Behrens was invited by the Grand-duke Ernst-Ludwig of Hesse to Darmstadt Artists' Colony, where he was offered the opportunity to build his own house. The resulting building—Behrens' first work of architecture—is indebted to Art Nouveau in some of its features, but it is more remarkable for the way in which it deviates from Art Nouveau norms. Many consider its more austere, stripped-down style to be Behrens' first step away from decorative styles and towards the modernism that he eventually helped to inspire.  The Peter Behrens House at the Darmstadt Artists' Colony. Image © <a href='https://www.flickr.com/photos/16782093@N03/4238259133'>Flickr user Metro Centric</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> In 1907, Behrens teamed with ten other artists and designers and a group of twelve companies to create the Deutscher Werkbund, an organization that was deliberately designed to compete with the English Arts and Crafts movement, and to improve the status of German design and industry. As a result of this organization, Behrens was employed by AEG as an artistic consultant and called upon to design everything from the company's logos and typefaces to its product design, effectively making Behrens the world's first industrial designer. From this alliance in 1909 came the AEG Turbine Factory. Once again, the design does not entirely eschew traditional architecture, with solid gable ends and corner walls recalling an abstracted classical temple. However, the building's industrial nature required a significantly different approach, in both its spatial and functional requirements, to anything that established architectural styles had to offer. As a result, steel and glass predominate in the building's 123-meter long shell. From the AEG Turbine Factory, it is not difficult to trace a lineage to Walter Gropius' design for the Fagus Factory four years later, and then onward to the rest of the modern movement. Still relatively young, Behrens went on to teach at the Academy of Fine Arts Vienna and the Prussian Academy of Arts. Though he never replicated the success of some of his protégés, his style also continued to evolve—ironically, 19 years after he created the Deutscher Werkbund to compete with English designers, Behrens designed the "New Ways" house in Northampton, considered by some to be the UK's first Modernist house. Find out more about the three architects who began their careers working for Behrens here:
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