Arch Daily |
- “Future Space” Pavilion Salone del Mobile 2018 / Peter Pichler Architecture
- Loft São Paulo / treszerosete
- 8 Dwellings in Gracia / Raimon Farré Moretó
- Kamikatz Public House / Hiroshi Nakamura & NAP
- White Box / Ayutt and Associates Design
- L-House / Alexander Symes Architect
- Annex Building of Korean Embassy in India / AA Studio Consulting
- The Carlton House / Tom Robertson Architects
- FDZ Esquivel Studio / FDZ Esquivel / Arquitectura
- 7 Installations to Watch Out For at the 2018 Milan Design Week
- The K.O. Lee Aberdeen Public Library / CO-OP Architecture
- Brooklyn Passive House Plus / Baxt Ingui Architects
- Kenneth Frampton Awarded Golden Lion for Lifetime Achievement at 2018 Venice Biennale
- Building Burning Man: The Unique Architectural Challenges of Setting Up a City in the Desert
- Center Point Tower / Conran and Partners
- Woods Bagot Rethinks Higher Education for the University of Melbourne
- Dune Art Museum by OPEN Architecture Tops Out 'Under' a Beach Near Beijing
| “Future Space” Pavilion Salone del Mobile 2018 / Peter Pichler Architecture Posted: 18 Apr 2018 10:00 PM PDT  © Oskar Dariz
 © Oskar Dariz Text description provided by the architects. Concept  © Oskar Dariz The project explores the potential of the material presence of wood in a non-typical "building" environment as a structure that should transmit a spatial experience. The installation reflects our studio thoughts about future spaces: sustainability (wood as material), structure and spatial emotions.  © Oskar Dariz Three separate wings gradually changing in height by simply stacking and rotating different lengths of wood sticks (1.600, form a pyramid-like ensemble. Visitors are invited to enter and explore the cave-like installation.  © Oskar Dariz
 © Oskar Dariz The perforated structure filters light and evokes a playful game of light and shadow. It forms three openings, one serves as the entrance and the other two provide views towards the courtyard of the university and other installations.  © Oskar Dariz  This posting includes an audio/video/photo media file: Download Now |
| Posted: 18 Apr 2018 08:00 PM PDT  © Ana Mello
 © Ana Mello Text description provided by the architects. The 80m2 loft should fit perfectly with the way of life of the client who is young and single. Another issue to be addressed was the fact that the property was rented. Considering these facts, we decided to design most of the furniture in the apartment, so that they could be reused in different ways elsewhere.
The access of the apartment is marked by a small corridor that limited its use, with that, was designed a shelf that could transmit the personality of the resident through personal objects and also be an organizer of objects of daily use. This same shelf advances down the ladder, and together (shelf and ladder), they create a more personal space for concentration and work, as requested by the client's briefing.  © Ana Mello The lower floor and also the common space was developed to receive several people seated. The sofa beside being spacious should be flexible, and therefore modular. The set also has a dresser of 2.00m in length, which in addition serves as a bench.  Lower Floor Plan The balcony should help with meetings, containing more chairs and tables that could serve as a seat and that could easily be moved to the living room on feast days. The materiality of the walls and structure was maintained unfinished, as well as the lighting ducts highlighted by the apparent bricks, keeping the young and despoiled atmosphere desired from the start.  © Ana Mello  This posting includes an audio/video/photo media file: Download Now |
| 8 Dwellings in Gracia / Raimon Farré Moretó Posted: 18 Apr 2018 07:00 PM PDT  © José Hévia
 © José Hévia Text description provided by the architects. This project pursued to dignify the city through the incorporation of elements, proportions, materials and constructive solutions that are typical of traditional residential buildings in Barcelona.  © José Hévia A tribuna (an enclosed gallery projecting over the building’s front), a distinct noble element of residential buildings in Barcelona’s Eixample, characterizes each of the eight flats that make up the building. Their floor-to-ceiling height of 3.4m offers the highest level of usefulness for the 40m2 available. One room/one home, flexible and able to adapt to future changes. A light construction fixed element of 10m2 accommodates the unit’s sanitary services (kitchen and bathroom) and defines the entrance, while a built-in module that satisfies the needs of storage, leisure and work, separates and plays around the surrounding living-dining room, bedroom and tribuna.  © José Hévia  Lower floor plan + Second floor plan + Roof plan  © José Hévia The materials –five that explain almost everything— and their materiality were chosen to guarantee, as much as possible, long-term durability: Reinforced concrete is present in the artificial stone elements of the façade, floor pavements and the interior’s porticoed structure, where it is left exposed.  © José Hévia Ceramic elements constitute the building’s enclosure, made of 240mm-wide lightened clay bricks on the outside and double-leaf masonry of 90mm-wide lightweight clay bricks inside. The exterior façade is finished with ETICS panels, while on the inside bricks are left exposed and whitewashed, thus leaving the material’s tectonic and expressive characteristics visible with the expectation that additional layers of lime will soften the walls’ still rough texture.  Sketch / Scheme Wood is used for the built-in module of the “rooms” and the coverings of staircase landings. They are made of pinewood lumber frame construction finished with HPL boards; all joints are reversible to allow accessibility inside the walls.  © José Hévia Service equipment items (ducts and conduits for utilities) are considered as an additional material of the building, all present but integrated and accessible, trying to make the useful life of the building more flexible and long-lasting. And lastly, dirt. The roughness of the façade seeks to accommodate the dirt and scuffs that will inevitably appear and accumulate in certain places, thus ensuring that over the years the building’s presence improves, or better yet, that it ages well.  © José Hévia  This posting includes an audio/video/photo media file: Download Now |
| Kamikatz Public House / Hiroshi Nakamura & NAP Posted: 18 Apr 2018 05:00 PM PDT  © Koji Fujii / Nacasa and Partners Inc.
 © Koji Fujii / Nacasa and Partners Inc. Text description provided by the architects. Kamikatsu in Tokushima prefecture is committed to zero waste, aiming to become a sustainable recycling society. The town has already attained an 80% recycling rate by sorting its waste into 34 categories. Used items are displayed at the recycle center like a store. As mass-production and mass-consumption society reaching an impasse, the world holds great expectations for this movement.  © Koji Fujii / Nacasa and Partners Inc.  Site Plan  © Koji Fujii / Nacasa and Partners Inc. On the premise that a paradigm shift for production and sales processes is essential in achieving zero waste, a private-sector business inspired by the principles of this town launched this project with the concept of integrating a shop that sells household sundries, food, and beer by weight, brewery, and a pub. As the word "pub" comes from "public house," we decided to bring the principles of the community, the wisdom and ways of the people towards waste to form through architecture. Our aim was to create a public house so that the community could feel pride in their actions.  Interior Elevations  Ventilation Diagrams To create continuity of production and consumption, we started by positioning functions in chronological order in the linear building—from the raw material warehouse to the brewery and then to the pub where the beer will be served. To make the pub a local symbol when looking up from the town, the windows comprising fittings from abandoned houses were set eight meters high. We gathered windows that illuminated the town in the past and dedicated our wish that they would serve as a lantern of hope to shine upon the town struggling with a declining population. The elevated ceiling effectively ventilates the warm air that stagnates above during summer, while the double layer of window fittings trap air and enhance insulation. The ceiling fan circulates heat from the carbon-neutral radiation heater that makes effective use of branches from the forest.  © Hiroshi Nakamura & NAP We converted and reconstructed furniture such as bridal chests and farm equipment found at the recycle center for use as product display fixtures. Locally-produced cedar board wood waste was colored with naturally derived persimmon tannin paint and applied to the exterior wall. We utilized abandoned items from a tile factory for the floor, empty bottles to create a chandelier, antlers produced in the town for the draft tower, and newspapers as wallpaper. The space is full of improvisation and discoveries with this creative combination of waste material.  © Koji Fujii / Nacasa and Partners Inc. Not only the architecture conserves energy and resources, and reduces harmful emissions though reuse, reduce, and recycle, it is starting to enhance a circulation of the regional economy as well as tourism. Moreover, by embodying the town's vision within everyday life, the locals who gather at this pub are beginning to truly realize that their actions are fun and creative. The town was also inspired by this and newly established a display shelf for construction materials at the recycle center.  © Koji Fujii / Nacasa and Partners Inc.  This posting includes an audio/video/photo media file: Download Now |
| White Box / Ayutt and Associates Design Posted: 18 Apr 2018 03:00 PM PDT  © Soopakorn Srisakul and Ayutt Mahasom
 © Soopakorn Srisakul and Ayutt Mahasom Text description provided by the architects. WHITE BOX is a compact private house located on Taweewattana road, Bangkok, Thailand in the gated-residential community. The WHITE BOX owner bought one plot of land next to their own parent's house in this community. The community is nothing new, all the houses are designed in the same fashion by copy and paste with bad ventilation and similar look for all house types. Thus, the owner asked Ayutt and Associates design (AAd) to design their dream house instead of buying the standard house from the developer.  © Soopakorn Srisakul and Ayutt Mahasom The briefs that AAd received from the owner was for functional and useful spaces like any ordinary compact house. The house was fabricated as one-family house which gave an adaptability to be ventured into multi-family for their parent and their kids in the future. However what the client loved was the shape of box-look with white minimally-designed house and modern style. Yet they asked that it ought not to be hot inside and needs to suit with Thai Climate, great ventilation, compact circulation,while the budget is limited. The requirements are for 2 families (Owner and their parent) to live together with each own privacy but still connected by the main function on ground floor.  © Soopakorn Srisakul and Ayutt Mahasom  Ground floor plan  © Soopakorn Srisakul and Ayutt Mahasom Despite the fact that the usable space of the land is restricted, however the customer still needs a huge greenery space to appreciate, and in addition an advanced house with sun shades and rain protection. This is the most challenge part for AAd, who needs to design the cutting edge dialect of architecture in a way that would suit the hot and humid atmosphere of Tropical environment together with the modern clean box architecture. Comfort and building maintenance throughout the years are two fundamental aspects for this house.  © Soopakorn Srisakul and Ayutt Mahasom The main challenge is the generally little site fit near a square. Spreading all the required spaces for only one story would top off the entire site, which means there would be no open green spaces and poor ventilation, AAd in this way made a two story house, with the central court for landscape. Since all functions are packed and stacked into 2 levels to provide the most open space possible on the ground level. This open court that is open to the sky and a large green space have a direct relationship to the rest of the house. The secret garden is created as a private courtyard for the occupants to enjoy from the living spaces, master bedroom and guest area. This open-air features also help to bring light through to the internal spaces, connecting to the outside. AAd creates the relationship between the internal and external space including the relationship between the two family's spaces for private and social through this garden. The house is divided in private area with bedrooms, and social area with living-rooms, working room and outdoor space. The private areas are on second floor and all social areas are at 1.5m above street level to create the privacy vision from the public road. All functions are located around a central courtyard with rooms opening to this court in a intimate environment and to collect direct light and enjoy feature tree.  © Soopakorn Srisakul and Ayutt Mahasom The materials utilized as a part of this house are thoroughly minimal modern: white solid wall, big glass and aluminum. The basic components are made of strengthened concrete structure while the rooftop is produced using concrete slab and metal sheets loaded with warmth and acoustic protection. For the ground floor and parking area, the flat concrete roof has a layer of gravel to keep heat from entering the house and prevent the reflective of direct sun light to the internal space on second floor. The brick plaster walls are punctuated by areas of glazing with the exterior facades mostly rendered in white to reflect the heat. To incorporate a modern feature to the house design and making the house outstanding from all houses in the community. AAd suggests to install the customised Metallic silver Aluminum Extrusion Strip vertically on the mass of the front facade where all passenger will be noticed easily. This Aluminum strips façade is likewise intended for air buffer insulation to chill off the primary space during the daytime. The combination of the white wall, glass and silver aluminum (resistant to the effects of the heat) end up creating a new style of tropical minimalism, with great influence of Thai modernism architecture.  © Soopakorn Srisakul and Ayutt Mahasom  This posting includes an audio/video/photo media file: Download Now |
| L-House / Alexander Symes Architect Posted: 18 Apr 2018 01:00 PM PDT  © Barton Taylor
 © Barton Taylor Text description provided by the architects. Perched on the eastern spur of Linden in the lower Blue Mountains, sat a project home partially completed in 2003. The new owners, a young couple, decided after suffering through several cold winters that it was time to renovate the house into a thermally comfortable family home.  © Barton Taylor The clients originally wanted to maintain the two existing pavilions: one for guest accommodation and the other for ancillary spaces and create a new dwelling to the east, increasing floor space to accommodate a family and capture the surrounding bushland and easterly views across the Sydney basin to the harbour and city.  Ground Floor Plan ASA proposed an alternate way of thinking about the site with the main principles of respecting the bushland at the core and re-using as much of the existing built form, services and structure as possible to reduce waste and manage costs. From this re-interpretation of the existing "L-House" was created: re-using the north-eastern pavilion for the parents, flowing to a new central family link, which would navigate the level changes in the landscape to connect with the existing east-west pavilion, housing the children's area, an office and ancillary spaces. This consolidation of the built form created a single eastern elevation where the sweeping views to the city skyline could be appreciated from multiple living spaces.  © Barton Taylor Conversely, the L-shaped house formed a new western entry to the property to curate the appreciation of the natural bushland setting as you enter the site. The low window-to-wall ratio on the west enabled a celebration of the sleek zincalume cladding. The simplicity and rhythm of the material provides a striking contrast to the natural bushland, with the zincalume shimmering on approach, reflecting the colours of the day. The material however also serves a greater purpose: fire protection. The close proximity of the natural bushland meant the external envelope had to be robust and non-combustible in order to meet the highest level of bushfire protection construction set in the original 2003 DA. As such, the house is effectively wrapped in zincalume cladding with bushfire rated hardwood used as feature elements to soften moments of connection.  © Barton Taylor For an alteration and addition L-House achieves a solid NATHERS rating of 7.6 stars, well exceeding the 4 stars required in the 2014 s96 approval. Many initiatives have been undertaken to ensure L-House provides a high performance thermal envelope for its residents to cope with the extreme heat and cold of Linden, these include: stripping back the old pavilions and completely re-insulating, using thermally broken window frames and lowering the window to wall ratio. This means L-House has a lower peak demand which in turn reduces the overall residential demand on peak days, which Ausgrid estimates increases the size of their power stations by 147% and is a key initiative on moving to a greener grid.  © Barton Taylor The design and construction teams worked in an integrated manner to manage the complexities of environmental protection, bushfire mitigation and the re-use of services and structure. The outcome is a highly crafted home that celebrates its natural environment and delivers a low operational energy comfortable home.  © Barton Taylor  This posting includes an audio/video/photo media file: Download Now |
| Annex Building of Korean Embassy in India / AA Studio Consulting Posted: 18 Apr 2018 12:00 PM PDT  © Anwita + Arun
 © Anwita + Arun Text description provided by the architects. The Embassy of the Republic of Korea in India is a classic piece of modern architecture and heritage designed in 1974 by architect Swoo-Geun Kim(1931-1986), representing the Korean modern architecture. He was a master who deeply considered the relationship between architecture, human beings, and the environment and translated it into a Korean idiom of modern architecture.  © Anwita + Arun The characteristics of the existing building are the fan-shaped walls that are laid out as if they are spread over a lot, and the spaces between them are filled with deep shadows. It's known as one of the most remarkable diplomatic buildings of Korea built anywhere in the world. Korean embassy selected the design of AA Studio for the extension of the annex building of the embassy(2013).  © Anwita + Arun The preservation of the heritage buildings and a close relationship amongst the old and the new was the starting point of AA Studio's proposal for the Annex Building at the embassy. The new building was conceived as an extension of the existing buildings. By establishing this relationship the harmony with the old was achieved delicately yet boldly. Chang-Hyun Kim, the principal architect of AA Studio, having already lived in India for nearly two decades drew upon his experiences in Korea and India to create a new vocabulary of Asian Contemporary Architecture.  © Anwita + Arun The exterior of the building was conceived with glass to create a sense of openness, as well as harness the views of the garden and bring in natural daylight. The West and South facades which generally receive the harsh Indian Sun were further covered with the combination of Jalis(sunscreens) and Korean traditional window. The jali and the Korean Window was reinterpreted by applying modern metallic louvers over the building facade. Through the louver, it was possible to obtain the effect of reducing the heat of the open air outside the room by more than 10℃.  © Anwita + Arun Considering the privacy of the employees of embassy inside the building, the louver was applied in a horizontal and a vertical direction in order to provide views but not compromise privacy. The exterior finishing pattern of the former embassy and the outer wall are summarized in a new pattern that can be encountered together. The building visible as a floating louver frame structure has been formed to express Korean traditional roof line. The view of the floating building is galvanized by the spiral staircase visible on the front façade. The Building appears as being precariously supported by the dramatic spiral staircase. The main circulation of the building rises and connects the basement, ground and the upper floor and follows the indoor courtyard. The circulation also becomes the light well in the building. Being surrounded by daylight all around the building does not use any artificial lighting during the daytime. The sunlight cast the shadow of louver into the indoor space giving an ethereal feel to the light inside the new building.  © Anwita + Arun The space below the floating building is provided for the employees of the embassy to meet freely, interact and discuss, hold events and meetings or just enjoy a coffee break outside in the shade as and when the weather permits all while enjoying the beautiful view of the garden by their side.  © Anwita + Arun  This posting includes an audio/video/photo media file: Download Now |
| The Carlton House / Tom Robertson Architects Posted: 18 Apr 2018 10:00 AM PDT  © Derek Swalwell
 © Derek Swalwell Text description provided by the architects. Tom Robertson Architects have reconfigured a small heritage workers cottage in the back streets of Melbourne to bring light and volume into the once dark spaces of this site. The resulting forms create a sense of spaciousness and adapt to a more contemporary living style.  © Derek Swalwell The house uses a strong monochromatic palette throughout, starting at the new bold zinc façade and the black and white kitchen within. Internally, the feel is clean, calm, with the natural timber flooring and striking staircase providing warmth and softening. To overcome the site's size restrictions a grand double height space has been created, allowing light to flood into the open plan space at the centre of the site. A mezzanine is suspended within this volume, providing a subtle private escape.  © Derek Swalwell A refined kitchen has been designed in close collaboration with the owners. This precise customisation allows for a highly functional and refined aesthetic. The controlled tones continue into the ensuite through grey terrazzo tilling, crisp white porcelain bench tops and bold black tap ware. Directly above the walk-in shower, an oversized skylight allows the much-welcomed sky views. In bold contrast with the general internal light tones, the ensuite form is clad in black lining boards and is easily identifiable from each of the surrounding spaces.  © Derek Swalwell The Carlton House is an example of clever spatial configuration, controlled volumes and simple design aesthetic. Now transformed, the house is full of light and life.  This posting includes an audio/video/photo media file: Download Now |
| FDZ Esquivel Studio / FDZ Esquivel / Arquitectura Posted: 18 Apr 2018 08:00 AM PDT  © Leo Espinosa
 © Leo Espinosa Text description provided by the architects. The idea of this project is born of creating a barrier of environmental protection because the front is faced the west one. Like result, the design of a few stelas is proposed with stone Tok’, that is a material representative of our entity, inspired in the Mayan culture; these shape a free front that they allow the main volume of the project to enjoy an opening with the handling of big glazed areas, working like a thermal insulator giving privacy and turning into an imposing element that defines the character of the building.  © Leo Espinosa The main volume of the project is shaped by the work places. Inside a natural and warm scene is formed in different planes, together with the vegetation and a double stair of concrete apparent and wood, protected by the big stone front like backdrop.  Ground Floor Plan  Upper Floor Plan The luminosity sensations during the day, the freshness for the crossing of the air together with the natural elements inside, offer an environmental comfort where the users realize its daily activities.  © Leo Espinosa Thanks to the handling of the vegetation and stone of the region that appear as protagonists in every space, a harmonic contrast is achieved between the present steel in the structure, the wood used in the furniture, the transparence of the crystal and the big stelas of stone.  © Leo Espinosa  Section A1  © Leo Espinosa  This posting includes an audio/video/photo media file: Download Now |
| 7 Installations to Watch Out For at the 2018 Milan Design Week Posted: 18 Apr 2018 07:36 AM PDT  Future Space / Peter Pichler Architecture. Image Courtesy of Peter Pichler Architecture The 2018 Milan Design Week is now underway, a festival which this year is expected to attract over 300,000 visitors. Every year, the festival brings together a wide range of practitioners and design companies resulting in unusual yet fascinating collaborations and installations. Below, we have compiled a list of collaborations to look out for throughout the week, including investigations into water, healthcare, and micro-living. Fifth Ring / MAD Fifth Ring / MAD. Image Courtesy of MAD "Fifth Ring" seeks to create a new dimension inside the courtyard of Milan's 16th century Seminario Arcivescovile. A circular ring set inside a square courtyard, the installation demonstrates mankind's continued search for perfection and acts as a fifth façade when viewed from above. When viewed from below, the illuminated circle frames the sky, acting as a "portal to a fifth dimension" in a move which seeks to open up a dialogue between the observer and the infinite universe. Altered States / Caesarstone & Snarkitecture Altered States / Caesarstone & Snarkitecture. Image Courtesy of David Zanardi "Altered States" sees a collaboration between leading quartz manufacturer Caesarstone and New York firm Snarkitecture, exploring the core theme of the kitchen island. Snarkitecture was inspired by the changing states of water in nature, through glaciers, rivers, and geysers, and in the kitchen, through ice, water, and steam. The installation consists of a central circular kitchen island, exhibiting the changing states of water through ice, liquid, and steam. Meanwhile, a surrounding "amphitheater" consists of over 250 Caesarstone and metal mesh pedestals, creating a white/grey gradient to emulate the appearance of a natural landscape. Open Sky / COS & Phillip K. Smith Open Sky / COS & Phillip K. Smith. Image Courtesy of Lance Gerber "Open Sky" sees a grounded, physical ring of reflected sky placed in the courtyard of the 16th century Palazzo Isimbardi. The tactile yet abstract installation seeks to reframe the historic architecture of the courtyard with the enveloping beauty of the Milanese sky. As visitors move through the colonnade, the Palazzo's form is distorted and reconfigured, while approaching the center of the installation sees a dynamic shift in focus towards the sky's transient clouds and colors. Cells / Filippo Taidelli Cells / Filippo Taidelli. Image Courtesy of Andrea Martiradonna "Cells" investigates the relationship between technology, nature, and architecture in the hospital of tomorrow. Situated in the courtyard of the University of Milan's Ca' Granda, a former hospital founded in 1456, the installation explores the evolution of the world of healthcare by placing the visitor in an immersive, sensory experience. "Cells" consists of two glass structures, equal in size but with differing characteristics, placed at opposite corners of the courtyard to symbolize two perspectives on the future of healthcare. Future Space / Peter Pichler Architecture Future Space / Peter Pichler Architecture. Image Courtesy of Peter Pichler Architecture The Ca' Granda also plays host to "Future Space," an installation consisting of a symmetrical structure inspired by the Renaissance proportions of the historic hospital. The project explores the potential for timber as a sustainable future material, investigating the spatial experience transmitted by wood. The installation is constructed of over 1600 wood sticks, creating a cave of three separate wings gradually changing in height. The perforated structure filters light, facilitating a "playful game of light and shadow." The caves' three openings serve as an entrance and two framed views across the university courtyard towards other installations. REVERSE ROOM / Foscarini & James Wines / SITE REVERSE ROOM / Foscarini & James Wines / SITE. Image Courtesy of Foscarini "REVERSE ROOM" consists of an overturned black box, challenging the viewer's reactions to a disruptive, abnormal spatial condition. The installation serves primarily as a vehicle for "The Light Bulb Series," a collection of objects by James Wines which seeks to "blur the boundaries between art and design" using the light bulb as a subject. The installation includes five interpretations of the bulb; "Black Light" which inverts the functions and parts of the object, "Candle Light" which sees a merging of tungsten and flames into a new ambiguous object, "Melting Light" which consists of a bulb halfway between solid and liquid, "Plant Light" which shows a bulb overrun by nature, and "White Light" which sees a matrix of all exhibits. Microliving & Temporary Housing / Containerwerk Microliving & Temporary Housing / Containerwerk. Image Courtesy of Containerwerk German startup Containerwerk has designed "Microliving" and "Temporary Housing" to explore the possibilities of high-quality life in small space using purchased sea cargo containers. "Microliving" uses a single container to unite all essentials for comfortable living, through a marriage of technical sophistication and creativity. Meanwhile, "Temporary Housing" manifests as a two-container unit inviting visitors to question the growing fusion of professional and private life, and the efficient use of existing spaces.  This posting includes an audio/video/photo media file: Download Now |
| The K.O. Lee Aberdeen Public Library / CO-OP Architecture Posted: 18 Apr 2018 06:00 AM PDT .jpg?1523991510 "© Spencer Sommers / CO-OP Architecture") © Spencer Sommers / CO-OP Architecture
.jpg?1523991577 "© Spencer Sommers / CO-OP Architecture") © Spencer Sommers / CO-OP Architecture Text description provided by the architects. After more than eight years of effort and a passed bond vote, Aberdeen proceeded with replacing its 1950's era library. The former library was overcrowded, had little natural light, and suffered from repeated water damage. A new civic based design was pursued to address these issues, and to develop a new "living room" for the city. The result is a state-of-the-art building that can both inspire and serve the needs of the community. This library was not designed to be a bin for dusty books and card files; it was designed to be a center of creativity, research and collaboration...and to be free to the public. .jpg?1523991498 "© Spencer Sommers / CO-OP Architecture") © Spencer Sommers / CO-OP Architecture The K.O. Lee Library, with its linear configuration along 3rd Avenue, is of a contemporary design with inspiration from the vernacular of four original railroad depots in Aberdeen which still stand today, including; The Great Northern Depot, The Milwaukee Depot, The Chicago Northwestern Depot and The Minneapolis and St. Louis Depot. While these depots articulate multiple styles of architecture, three of these, along with the historic buildings to the north of this library that formally housed Central High School, are predominately designed in the Craftsman/Prairie Style, and this new building attempts to pay subtle deference to that style in a contemporary way. .jpg?1523991589 "© Spencer Sommers / CO-OP Architecture") © Spencer Sommers / CO-OP Architecture  Floor Plan  © Spencer Sommers / CO-OP Architecture As a result of the many railroad lines that entered the city and created spokes, or a "hub", from an aerial perspective, Aberdeen, South Dakota, was nicknamed the "Hub City". This library, located near the heart of where those railroad lines first converged more than one hundred years ago, is intended to be a link to the past and the future, and is another kind of community hub – designed to connect and enrich residents and guests for many generations. .jpg?1523991563 "© Spencer Sommers / CO-OP Architecture") © Spencer Sommers / CO-OP Architecture  This posting includes an audio/video/photo media file: Download Now |
| Brooklyn Passive House Plus / Baxt Ingui Architects Posted: 18 Apr 2018 04:00 AM PDT  © John Muggenborg Photography
.jpg?1523990169 "© John Muggenborg Photography") © John Muggenborg Photography Text description provided by the architects. 78 Third Place–the first Passive Plus House built in the United States–included a rehabilitation of a townhouse built in the early 1900's. Revitalized by New York-based studio, Baxt Ingui, the work respected the original historical architecture of the main building and restoration of the front façade, while adding a new third floor with a mansard and a modern rear addition whose size rivaled the existing home. .jpg?1523990248 "© John Muggenborg Photography") © John Muggenborg Photography The homeowners' goal was to create a beautiful, open and inviting home suitable for everyday living and entertaining as well as respecting the historic character of the original house while incorporating high-performance construction. They emphasized the need for abundant natural light throughout the home as well as an open flow when designing indoor/outdoor living spaces.  Plans Being a Passive Plus House allows the home to perform incredibly well, while saving 80-90 percent of the energy needed to heat and cool the building. Mechanical elements, ductwork and grills were able to be minimized and still allow all rooms to maintain a consistent temperature. Insulation, Passive House detailing and high-performance windows and doors by Zola Windows achieved this. These design details, combined with a solar canopy system by Brooklyn Solarworks allows the home to be close to net zero. The solar panels on the roof helps to offset the electrical draw of the home and are designed to handle a majority of typical daily use. A portion of the array creates a shade canopy over the South facing roof deck allowing it to be enjoyed on sunny days. Adding to the many benefits of a Passive Home, Zola's American Heritage SDH (Simulated Double Hung) triple‐glazed windows constructed to a high standard of air‐tightness helped create a well-insulted building, coupled with craftsmanship that is befitting of even the most detailed historic restorations. The Landmarks Preservation Commission has approved the windows. .jpg?1523990258 "© John Muggenborg Photography") © John Muggenborg Photography Additional attributes of the Passive House detailing include an Energy Recovery Ventilation (ERV) system, which is filtered and makes for healthier home 24-7, an incredibly quite indoor environment, and due to the well-sealed the nature of the construction, a relatively bug and critter free environment. The Passive house measures really free the designer and allowed them to have the sculptural stairs next to glass walls and other architectural elements without the worry of getting heating or cooling to these locations.  © John Muggenborg Photography 78 Third Place was a highly collaborative effort between 6 contractors, 3 engineers, a number of Passive House consultants and environmentally conscious clients. Over the last two years, this focused group and collaborative effort allowed for a highly efficient process resulting in a systematic approach that others could follow to more easily achieve Passive House.  © John Muggenborg Photography  This posting includes an audio/video/photo media file: Download Now |
| Kenneth Frampton Awarded Golden Lion for Lifetime Achievement at 2018 Venice Biennale Posted: 18 Apr 2018 03:45 AM PDT  Kenneth Frampton. Image Courtesy of The Venice Biennale British architect, historian, critic and educator Kenneth Frampton has been announced as this year's recipient of the Golden Lion for Lifetime Achievement at the 2018 Venice Biennale. The decision was made by the Board of The Venice Biennale chaired by Paolo Baratta, upon recommendation from the Biennale's curators, Yvonne Farrell and Shelley McNamara of Grafton Architects. Having studied at the Architectural Association in London, Frampton has taught at the Graduate School of Architecture, Planning, and Preservation at Columbia University, New York since 1972. He has also lectured at several leading institutions, including ETH Zurich, the Royal College of Art in London, and the Berlage Institute in Amsterdam. Perhaps his most influential work, "Modern Architecture: A Critical History," was described by Biennale President Paulo Baratta as a book which "no student of the faculties of architecture is unfamiliar with." Frampton's contribution to architectural literature extends beyond "Modern Architecture, A Critical History." In "Towards a Critical Regionalism" he argues for architects to revalue context, place, and culture. In "Studies on Tectonic Culture" he highlights the connection between the languages of construction and architecture. In "A Genealogy of Modern Architecture: Comparative Critical Analysis of Built Form," he captures the inner workings of architectural projects, making them accessible to a wider audience.
The Golden Lion for Lifetime Achievement will be awarded to Frampton on May 26th, 2018 during the inauguration of the Venice Biennale. News via: The Venice Biennale
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| Building Burning Man: The Unique Architectural Challenges of Setting Up a City in the Desert Posted: 18 Apr 2018 02:30 AM PDT  The Black Rock Lighthouse Service by Jonny & Max Poynton. Image © Dan Adams Every year in August, a temporary metropolis is erected in Black Rock City, Nevada. This is Burning Man, an annual event of art and architecture that attracts some 70,000 participants. The people who come to Burning Man come from all walks of life. What is incredible is that they come together to construct an ephemeral city that lasts for 7 days. These people assume the role of architects and construction workers and use the desert to build all sorts of shelters in a fast, sustainable way. The desert is so remote, and everything built in Black Rock City is packed and taken home at the end of the event, and some of the art is burned on site. This poses a unique architectural challenge. The people who have come to build these structures have to plan them way in advance to accommodate all the challenges of working in the desert, but the result is worth it - a striking, unique city, democratically built, set against a desert landscape, and for only one week. We had the chance to interview Kim Cook at the World Architecture Festival in Berlin. Kim Cook is Director of Art and Civic Engagement at Burning Man. Kim Cook and her team are tasked with increasing the impact of Burning Man's arts and civic initiatives. As part of her role, Kim engages with artists and community leaders to increase opportunities for funding, collaboration and learning. David Basulto: Burning Man has grown in scale to resemble an ephemeral city. How can this challenge be managed? Kim Cook: Well, one of the things is that the city is built almost entirely by volunteers. Burning Man has 100 year-round staff, 700 seasonal hires and 7,000 volunteers that build the city. With that, one of the things that I think is really important is the caring of the volunteers. We have to think about how to invest in the quality of the experience for the volunteers as well as how to present new opportunities for people to volunteer. Where is the next wave of commitment going to come from if you don't make space for other people to volunteer? Furthermore, as Burning Man's visibility has grown. Every year, 35% of the attendees are here for the first time. So we're always bringing people into the community and we have to think about how to support them as they encounter these new cultural practices and behaviors. We want to help them have the experience that they're seeking. Another challenge is that, like any city, you have aging infrastructure. We use containers and cranes and various other kinds of physical objects, all of which need to be maintained and invested in. DB: This ephemeral city has attracted countless architects, who come to create interesting installations year after year. What are the main challenges they face when designing structures for Burning Man? KC: Well, the main architects that I know that come to Black Rock City to build things are actually architectural students. In fact, there are a couple of universities now, one in Germany and one in the UK, who bring their students to the desert to execute their architectural projects. I see them struggle. They struggle because of the conditions, and because of the lack of supplies. Whatever they have with them is what they have to work with.  Tangential Dreams by artist Arthur Mamou-Mani. Image © Debra Wolff So, the people that come here have to quickly learn how to self-organize, how to maintain their stamina, how to take care of themselves while creating this work. These are the challenges I see people wrestle with, but it is rewarding because they learn about their own capability when they manage to complete it. I think that there is something triumphant that happens when you have the extreme nature of the environment working against you and you manage to succeed anyway. There is a feeling of being liberated from the limitations of one's own possibility. Now you can imagine the impossible and imagine doing it. It's pretty terrific.  Tangential Dreams by artist Arthur Mamou-Mani. Image © Ales, Dust to Ashes DB: Is there any particularly challenging architectural installation that you remember, that left an impression on you? KC: Yes. There's so many. I will refer to two from 2016. Last year, there was a project called "The Black Rock Lighthouse Service." From the start you have this idea of lighthouses in the desert and that kind of symbolism alone is very appealing. They made the lighthouses structured like quartz crystals, so they were not entirely vertical.  The Black Rock Lighthouse Service by Jonny & Max Poynton. Image © Joe Sale Each of the lighthouses was dedicated to a different goddess from a different culture. The interior spaces were decorated in the style of these goddesses and you could climb up inside of them and between them. It was absolutely stunning. And they burned the entire work at the end. Just like that - someone creates something that beautiful, and then surrenders it. It's sort of astonishing. That same year, another artist proposed a project called "The Catacomb of Veils" and it was sort of like a big pyramid, with three pyramidal structures. It was a massive project. He was not able to complete it as he had imagined. He was still building when the event began, so we couldn't open it. Eventually, it was opened for visitors, but we only had 48 hours before it had to be burned down. I found the Pyramid project to be just as successful, because of the way that he worked with his volunteers. I think he had 50 or 100 volunteers, and everybody was cooking meals together, and trying to complete what they had set out to do. Everybody was treating each other with kindness and encouragement, and that was a success in itself. It ends up not being just the structure but also the process that affects the experience. There's also something about this architecture of these symbolic pieces every year, of the city, that is created to correspond to the emotion in the community. That itself is really kind of interesting. DB: What do you think are the challenges you will face as Burning Man continues to evolve? KC: Well, I think the challenges really comes back to how we want to be committed to a cultural integrity but at the same time we have to be careful not to confuse the objective with the experience. I have a partnership with a city in California called San Jose. It's just south of San Francisco, and a much larger city. 177 square miles. The Cultural Affairs Director and the Economic Development Department wanted to install artworks in the center of the city. It was a lovely idea and I wanted to work on how to use these installations to ignite other possibilities, so it becomes an invitation and not just an object. Now the city is working with us to create neighborhood park mentorship programs so that the artists of Burning Man can work with members of the community to imagine what sort of art installations they would want in their park, and then to co-create it. We want to focus on the culture of the community. The reason that it is important, is that people live the culture. People come and they participate and they give and they express themselves. There needs to be a sense of being a part of the culture. If people start going to Burning Man just so they can get a taste of the Kool Aid instead of helping to make the Kool Aid, then all of the sudden it's just like anything else that's become commercial. And I think that's the biggest risk. DB: Burning Man goes beyond what happens in Black Rock every year. What can you tell us about its impact around the world? KC: Burners Without Borders, a civic initiative from Burning Man, has 34 chapters around the world, and this gives us the unique ability to organize together and to make something or to do something. Doing so creates so much more civic responsibility, and personal responsibility in the community. For example, in Corpus Christi Texas, for many years now, they've been doing a clean up of the seven-mile strip of beach. They clean maybe five tons of garbage every year from this beach. They've done it so consistently that finally the county named it Burner Beach. This history of working together makes our communities more resilient. This is a very significant aspect of the Burning Man event that evolved over time. Every year you build a temporary city, you work with heavy equipment in extreme conditions, you know how to make a shelter that can withstand 100-mile-per-hour winds, and when the festival is over, you also come away with an extraordinary capability to reach out across a large social network of participants– that is remarkable. Another example is that burners have been going to Calais and to Thessalonica and building secure shelters for refugees that aren't accepted into official refugee camps. There's this one woman who comes to Burning Man; she's an artist and a model. She went to the cliffs of Greece built a light installation so that when people landed with their boats and they couldn't find a path on the cliff, they could follow the light. I saw a visual of it, it was extraordinary. Another thing that I think is very interesting and that I'm thinking about is how to shift from looking at Burning Man to looking out into the world. We have 700 to 800 volunteers that are called the Rangers and the rangers function as intermediaries between the people and law enforcement. They have a set of training called the Ranger Academy and they consider themselves as deriving their authority from the people they support. They're not a force or an imposition. They're actually a resource. And so, we have been talking to the United States Institute of Peace about the way in which UN Peacekeepers are trained and exploring whether or not there can be some cross-training between the rangers and the UN Peacekeeper because UN Peacekeepers are primarily military forces that are brought in to keep the peace.  The Space Whale by The Pier Group with Matthew Schultz, Android Jones and Andy Tibbetts. Image © Zipporah Lomax The other piece has to do with the way in which the art is made, which is really allowing someone who's never picked up a welding torch or a hammer to engage and to learn and to be a part of building and making something. I think this can be helpful particularly for young people who are living in difficult situations where they feel like they have no control over anything in their environment, and this is even more so the case with youth who are traumatized. The Burning Man can offer some form of therapy or release.  The Space Whale by The Pier Group with Matthew Schultz, Android Jones and Andy Tibbetts. Image © Mark Hammon Those are just some examples of how the experience of participating in Burning Man can be thought about in other contexts.
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| Center Point Tower / Conran and Partners Posted: 18 Apr 2018 02:00 AM PDT .jpg?1524015752 "© Luke Hayes") © Luke Hayes
.jpg?1524015057 "© Luke Hayes") © Luke Hayes Text description provided by the architects. Center Point Tower, designed by Richard Seifert, stands between New Oxford Street and Charing Cross Road. A symbol of the vibrant and liberating social change affecting 1960s London, it was one of the first tall buildings in London to be constructed using pre-cast structural components. This new technique, developed by structural engineers Pell Frischmann (who returned to work on the building alongside Conran and Partners in the current transformation) resulted in a precisely manufactured exo-skeleton structure. This was manufactured off-site and then delivered to site on a daily basis, panel by panel, for installation. _%C2%A9_Mark_Luscombe_Whyte_(2).jpg?1524014665 "© Mark Luscombe Whyte") © Mark Luscombe Whyte For many years after its construction, Centre Point Tower stood largely unoccupied and isolated from the buildings and spaces around it due to the area's busy gyratory system. It was given Grade II listed building status in the mid-1990s.  © Luke Hayes In 2010, London developer Almacantar acquired the building and commissioned Conran and Partners to restore, convert and reconfigure the 34-storey office tower into residential use, with supporting amenity spaces and a new ground floor. Rick Mather Architects, whilst not involved in the Tower, were commissioned at the same time to regenerate the lower buildings and the public realm. .jpg?1524015411 "© Luke Hayes") © Luke Hayes Almacantar's brief was to reinforce the building's personality by reconnecting to the spirit of the 1960s, whilst at the same time making it relevant to contemporary London as a world centre of cosmopolitan culture and creativity. Eduardo Paolozzi once described Centre Point Tower as London's first Pop Art building and the building's graphic nature is evident in the repeating, three-dimensional honeycomb structure that dynamically transforms itself though light and shadow as the sun passes across it. The design approach has been to connect the spirit of the restored exterior of the building with the converted and transformed internal spaces. The interior design has been influenced by the substance and rhythm of the elevations. .jpg?1524015456 "© Luke Hayes") © Luke Hayes The floor plates, originally designed during an era of typing pools and cellular offices, are no longer relevant to modern office requirements. They are, however at approximately 30 metres by 16 metres, extremely well-proportioned for contemporary residential use. The new apartments in Centre Point Tower range from 70 square metre 1-beds to a 675 square metre duplex apartment. Both single aspect and larger, dual-aspect apartment types have floor depths which allow daylight to reach into the furthest parts of the habitable rooms. The fenestration pattern has resulted in room widths of a minimum of five metres, and featuring at least two large windows. In the 3-bedroom apartments the external wall length is 15.5 metres of which more than 70 per cent of the surface area is glazed, creating spectacular panoramas across London. The concrete exo-skeleton has been retained and lightly restored, whilst the glazed envelope has been entirely replaced, but configured in the same pattern as the original. .jpg?1524014649 "© Luke Hayes") © Luke Hayes  Level 33, lower floor of duplex penthouse with entrance_sitting room_dining room _ kitchen and three bedrooms with en-suite bathrooms  © Luke Hayes The general arrangements of the new apartments sit naturally within the spaces to avoid the sense of retro-fit. The entrances are centred in the spine of what is a symmetrical building, whilst partitions always meet the external structure at right angles. .jpg?1524014899 "© Luke Hayes") © Luke Hayes Centre Point Tower, like many buildings of it era, was originally designed around vehicle access rather than around people. A spiral car park ramp was over-sailed by a pair of external flying staircases that created an insecure and challenging street frontage. The solution was to relocate the staircases inside the new lobby area to create approaches that are more welcoming and accessible, with a clearly-defined entrance at ground level. The generosity of the new entrance has created a theatrical space which now features a light sculpture by Cerith Wyn Evans. 'Neon Forms…descending a staircase' dramatically references the creative energy at the heart of the original Centre Point Tower concept.  © Charlie Dailey  This posting includes an audio/video/photo media file: Download Now |
| Woods Bagot Rethinks Higher Education for the University of Melbourne Posted: 18 Apr 2018 01:00 AM PDT  Courtesy of Woods Bagot In partnership with Lendlease and the University of Melboure, Woods Bagot designed an architectural reflection of the university itself. Named the Carlton Connect Initiative, this masterplan will be a mixed-use precinct where not only university students and staff, but also international business professionals, researchers, and start-ups can come participate in idea exchange. In order to attract the best and brightest for the university, Woods Bagot is pursuing the highest standard of cutting-edge, sustainable design.  Courtesy of Woods Bagot Adjacent to the University's main Parkville campus, five new buildings surround a communal courtyard, or "oculus." The project is shaped by human behavior, so in addition to housing for over 500 students, the buildings will hold retail, hospitality spaces, a childcare center, and even a science gallery. A "Fab Lab" and "Superfloor" act as collaboration habitats - where human thought processing can begin to manifest into real life breakthroughs.  Courtesy of Woods Bagot  Courtesy of Woods Bagot "Innovation comes from people, the way they interact, the way they collaborate on a common purpose. Therefore, it's essential that every part of this scheme lives and breathes human-centered design," Woods Bagot principal and project design lead, Hazel Porter said.  Courtesy of Woods Bagot
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| Dune Art Museum by OPEN Architecture Tops Out 'Under' a Beach Near Beijing Posted: 17 Apr 2018 11:00 PM PDT  Courtesy of OPEN Architecture OPEN Architecture has released the latest construction photos of the Dune Art Museum topping out in a Chinese coastal city near Beijing. The art museum manifests itself as a complex of interconnected concrete shells, which in the next and final stage of construction, are to be buried in sand and shrubs to restore the natural silhouette of the dunes on the beach.  © Ni Nan It is no coincidence that the current state of the structure gives the impression of an otherworldly monument being excavated from underground. According to OPEN Architecture, the cave-like interiors are inspired by the "primal form of human inhabitance and the earliest site of man's artistic creation." The Dune Art Museum will house a gallery, studio, café, and bookstore within its building footprint of 1132 square meters.  © Fangfang Tian  Plan  © Fangfang Tian With each of the 'caves' being assigned a different function, visitors are required to enter the museum through a dark tunnel, before reaching the reception area where it will be generously lit by natural light entering from the skylight above. Similar skylights and tubular apertures can be found in the other functional spaces. Upon completion of the Dune Art Museum, these elements will protrude out of the sand-covered mass, curiously framing the sky over one's head.  © Ni Nan The largest openings are located at the three 'caves' furthest to the west of the museum, each offers an expansive view of the sky in parallel with the Bohai Bay. Accompanied by echoes of the ocean tides lapping on the shore, the architecture is designed to fuse with nature in all senses.  © Ni Nan The Dune Art Museum is the first installment of the project, Dialogue by the Sea. The second installment will feature the Sea Art Museum, a dock-like structure to be constructed offshore. The two museums will be connected by a narrow stone passage, accessible only at low tide. While construction has not yet begun for the second installment of the project, the Dune Art Museum is expected to be completed this year in late summer. News via: OPEN Architecture.  Courtesy of OPEN Architecture  This posting includes an audio/video/photo media file: Download Now |
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