Arch Daily |
- Chain Bath in Queen Luiza Coal Mine Complex in Zabrze / Konior Studio + OVO Grąbczewscy Architekci
- Elizabeth Diller of Diller Scofidio + Renfro Named in Time's List of 100 Most Influential People
- The Sekforde / Chris Dyson Architects
- The School of Kunqu Opera in West Creek Village / China Architecture Design Group Land-based Rationalism D.R.C
- Jungle Station / G8A Architecture & Urban Planning
- Hangzhou Normal University / WSP ARCHITECTS
- Nojiri-ko Nature Platforms / SUGAWARADAISUKE
- NOUS Restaurant&Flowers / 0321 STUDIO
- Te Horo Bach / Parsonson Architects
- Croft Residence / AUX Architecture
- Studio Gang Unveils Images of Rippled Condominium Tower in Brooklyn, New York
- Lycée Français de New York / Ennead Architects
- Rogers Stirk Harbour + Partners' 3 World Trade Center Nears Completion in New York
- House GC / Roberto Benito
- Het Nieuwe Instituut's Call for Fellows 2018
- Zaha Hadid Architects Designs Parabolic-Vaulted School Campus in Rural China
- Growing Up in a Glass House: What Is it Like to Be the Daughter of an Uncompromising Modernist Architect?
- Fondazione Prada Torre / OMA
- Dorte Mandrup to Design Her Third UNESCO World Heritage Wadden Sea Project
- Meditate In This Mobile Nature-Inspired Pinecone Gazebo
| Chain Bath in Queen Luiza Coal Mine Complex in Zabrze / Konior Studio + OVO Grąbczewscy Architekci Posted: 19 Apr 2018 10:00 PM PDT  © Tomasz Zakrzewski
 © Tomasz Zakrzewski Text description provided by the architects. The "Queen Luiza" mine in Zabrze began operating in 1791 and practically throughout its entire existence, ie until 1998, it was considered one of the largest and most modern in Europe. Being a state mine, it benefited from high government subsidies, which resulted in large investments not only in the sphere of production. An example of such development was the construction of a mine bathhouse, which was erected in 1890. Łaźnia was the first such implementation in Upper Silesian mining and was the best testimony to the level of the social facility, which was far ahead of the standards of that time. A magnificent, brick building with a basilica layout, 10 m high, located just off the main street of the city, is a characteristic feature of the architecture of this part of Zabrze. The object maintained the original division of the main rooms, structural elements and part of the original equipment.  © Tomasz Zakrzewski  Skketch At present, the revitalized building will perform tourist functions (handling visitors' traffic), gastronomic (restaurant) and cultural functions. It was designated as the first element of the future tourist route in the Queen Luiza Mine complex. It is from the sight of the chain bath that the tourists will start exploring the complex with its attraction, ie the Main Key Heritage Herons. In addition, the interior of the building is an excellent space for organizing exhibition and cultural activities. Thanks to its adaptation to new functions, the Museum has the possibility to organize various temporary exhibitions, vernissages, concerts, theater performances and other cultural events in Łaźnia.  © Tomasz Zakrzewski  Floor Plan  © Tomasz Zakrzewski As part of the revitalization, the building of the former chain bath has been thoroughly renovated. The brick façades of the building were cleaned, the brick structure was strengthened, cavities were supplemented using a brick that was color-coordinated and dimensionally in accordance with conservation recommendations. The newly designed parties at the south-east annex were made of a bricks different from the material remaining in the historic part of the building. Comprehensive damp-proof insulation of walls was carried out. The windows have been replaced with aluminum with identical polygon ironwork. The outer doors were also aluminum, glazed, multi-track, instead of modern, damaged wooden and metal. The roof was renovated, new wooden parts were made where necessary. The construction of the rafter framing required renovation and partial reconstruction. After the expansion of the eastern extension, the building gained here the main entrance - through the stairs with access from Wolności street and after the ramp for disabled people available from the internal entrance and parking square. At the second, existing entrance from the side of Wolności street, new external stairs appeared on the sidewalk. The western extension was also rebuilt. The area around the building received elements of small architecture (benches, lighting).  © Tomasz Zakrzewski The introduction of new museum and cultural functions required appropriate interior arrangements. There was a need to insulate the interior (except the wall in the room with showers), which resulted in the walls being built up with plaster surfaces. The main internal walls were left as brick. In the gastronomic part a mezzanine was built. Stoneware floors have been preserved or restored in a room with showers, in the entrance vestibule and partly in the gastronomic section. Cast-iron construction pillars were maintained. Suspended ceilings are used however, they reveal roof truss structures partly within the nave. The visible decking of the ceiling was preserved in part with showers. The original equipment of the bathhouse was preserved. The design of the chain locker room, the chains themselves and the containers hung on them, the water tank with the supporting structure, showers and metal elements of the benches were cleaned and old painting layers were removed from them. Damaged and missing wooden seats have been recreated.  © Tomasz Zakrzewski The revitalization of the only historic bathhouse in Polish coal mining, which partly maintained the original equipment and is made available to visitors, allows to learn the social conditions prevailing at the end of the 19th century in a large, state-owned industrial plant. The bathhouse serves as the starting point for tourist who will see the whole complex of coal mines in Zabrze. Right now it functions as a place for exhibitions, events, theater plays, concerts. In April the whole Main Key Heritage Herons should be ready for underground boat tours.  © Tomasz Zakrzewski Product Description: One of the most important things in this project was to fulfill all the demands as fas as thermal insulation is concerned while keeping the brick facades without any changes. The solution was to use the ytong multipor blocks as inner insulation. Painted white it helped to achieve "the white box" effect inside the building, as a contrast to brick facades and a logical proposal for exhibition space.  This posting includes an audio/video/photo media file: Download Now |
| Elizabeth Diller of Diller Scofidio + Renfro Named in Time's List of 100 Most Influential People Posted: 19 Apr 2018 09:00 PM PDT  The High Line in New York, one of the projects Elizabeth Diller is known for. Image © Iwan Baan Architect Elizabeth Diller of firm Diller Scofidio + Renfro has once again been named one of TIME's most influential people in 2018. TIME Magazine's annual 'Time 100' List recognizes the achievement of artists, leaders, activists, entrepreneurs, and athletes who are exemplary in their fields. Diller has been named to the category of "Titans," along with Roger Federer, Oprah Winfrey, Jeff Bezos, Elon Musk and Kevin Durant. This is Diller's second time on the list but the first time being honored as a "Titan." Other honorees this year include Shinzo Abe, Justin Trudeau, Xi Jinping and Jimmy Kimmel.  The Broad Museum in Los Angeles, California. Image © Iwan Baan Writing for TIME, Eli Broad calls Diller a "visionary" who can "turn a metaphor into brick and mortar." He praises The Broad Museum (previously named to one of Archdaily's Top 100 American Architecture Projects) and how "Liz" managed to design an iconic white porous overlay that would not clash with Frank Gehry's Disney Hall on the same street. He adds:
Elizabeth Diller was first included in TIME's 100 List in 2009 along with her partner Ricardo Scofidio. Elizabeth Diller is one of four partners of the studio Diller Scofidio + Renfro, along with Ricardo Scofidio, Benjamin Gilmartin, and Charles Renfro. The firm is also known for the High Line in New York, and an expansion of NYC's Museum of Modern Art. This year, her firm's project, Zaryadye Park in Moscow, was also recognized as the best Public Architecture project in the world by the BOTY awards.  Zaryadye Park in Moscow, Russia. Image © Iwan Baan Other noteworthy projects include Alice Tully Hall, Hypar Pavilion and The Juilliard School in the Lincoln Center; the U.S. Olympic Museum and Hall of Fame; Columbia University's Roy and Diana Vagelos Education Center; UC Berkeley's Art Museum & Pacific Film Archive; Brown University's Center for the Creative Arts; Museum of Image and Sound [MIS] in Rio de Janeiro; and Juliard's first overseas campus in China.  Alice Tully Hall in the Lincoln Center, New York. Image © Iwan Baan In 2013, Wang Shu was honored in the "Artists" category. In 2016, Bjarke Ingels made it to the list in the "Artists" category as well, praised in writing by Rem Koolhaas. In 2017, David Adjaye was nominated to the "Icons" category. Elizabeth Diller's nomination into the "Titans" category this year seems a step above the ordinary in terms of prestige and significance. Of this list, TIME's editor Nancy Gibbs once said:
With Bjarke Ingels and David Adjaye as predecessors, we're excited to see what Elizabeth Diller will do next. News via TIME.  This posting includes an audio/video/photo media file: Download Now |
| The Sekforde / Chris Dyson Architects Posted: 19 Apr 2018 08:00 PM PDT  © Peter Landers
.jpg?1524092841 "© Peter Landers") © Peter Landers Text description provided by the architects. The brief for the works at The Sekforde centred around two elements 1)The historic pub building which required a detailed restoration 2)The creation of a new build which would occupy the disused, street facing, service yard. It was clear from the outset that the client, from a law background, had a passion for sensitively restoring the historic building where he would become the final live in landlord to the restored pub. .jpg?1524092865 "© Peter Landers") © Peter Landers The initial Consent allowed for minimal works to the façade of the Historic Building. During a visit to site, while repair work was underway, CDA discovered that the original bricks beneath a layer of cement based render appeared of decent quality. An archive photograph lead to a second application and the restoration of the original façade with exposed brickwork and wood grain shopfront at street level. .jpg?1524092876 "© Peter Landers") © Peter Landers Internally the timber panelling, fireplace and bar at ground floor level have been carefully restored. The former cellar at basement level now contains a restaurant with fully restored brickwork walls. The first floor contains a ballroom, in which Georgian timber panelling, mouldings and covings have been carefully detailed, with the colour scheme taking influence from the Yellow Room at the John Soane Museum.  Section A map dating from 1872 showed the derelict pub yard was once occupied and was utilised in our application to establish a new 3 storey mixed use building. Constructed of reclaimed London stock bricks, this new build uses traditional decorative brick features such as tuck pointed gauged brick arches and recesses, along with a contemporary interpretation of Georgian proportions. Situated between the historic and new build we created a glazed link, forming a clear separation between old and new. .jpg?1524092854 "© Peter Landers") © Peter Landers The integration of a complex heat recovery system and ground source heat pump and the use of reclaimed materials gives the project a further environmental sensitivity. The development is an example of successful collaboration across many disciplines, including the project manager on site, lighting specialists, M&E and the local council's conservation department. .jpg?1524092830 "© Peter Landers") © Peter Landers  This posting includes an audio/video/photo media file: Download Now |
| Posted: 19 Apr 2018 07:00 PM PDT  © Guangyuan Zhang
 © Haian Guo Text description provided by the architects. West Creek Village is located between urban and rural areas of Kunshan city, as well as between the Yangcheng Lake and the Doll Lake, where the Kunqu Opera and Yu Mountain Culture start 600 years ago. However, with the rapid development of urbanization, the rural areas begin to disappear and a new culture park without any villages left is planned.  Ariel View. Image Courtesy of China Architecture Design Group Land-based Rationalism D.R.C  Courtesy of China Architecture Design Group Land-based Rationalism D.R.C The local government wants to continue the plan and asked us to design the new buildings instead of the old rural houses. But we persuaded the client that the historical landscape and the villagers should be kept and the traditional culture should be preserved to make the villages revive. The proposal is adopted and a small Kunqu opera school is built over 4 old shabby houses. The opera school can offer a place where children and villagers learn Kunqu opera and can hear the tunes every day, as it might happen days and nights half a century ago.  © Yanzhi Jiang Bamboo, which represents noble character in Chinese culture, is the most important topic mentioned in the poems of Yu Mountain Culture. Gu Aying described his reading house in his poem "Bamboo grows before the house. Lotus are flapping behind it. Pick the seeds of the flowers in the water. And take a seat in the wind. " So bamboo is quite an important element used in the project.  © Guangyuan Zhang The school is a real light building, which adapts to the site densely covered with rivers and it does no harm to the countryside. Small steel columns and beams are used as the wood railing frame architecture typical in southern China. The roof is made of metal tiles and wood sheathings which can reduce the weight of the roof.  © Guangyuan Zhang The walls on the upper floor are bamboo fiber clip walls with light insulation layer inside ; the walls on ground are made up of light heat-preserved bricks covered by white grass mud. Bamboo curtain walls can be seen inside the yards to create shaoy space and a bamboo pavilion can be found from the riverside, under which is the stage face to the water.  © Guangyuan Zhang  Facade  © Guangyuan Zhang The site is located in the depths of the village and in a river network area with poor foundation conditions. Without using any heavy machinery, the project should be safety itself and to the close neighbor houses, which is only about 1 meter away. The shallow foundation and close columns are adopted for strict protection requirement of the surroundings. All the plants are preserved during the construction process.  © Haian Guo The old broken Chinese-style tiles left in the site are collected to fill the metal copings as the local villagers did traditionally. The lights inside the double-layer hollow brick walls can illuminate the paths in the village in the night.  © Guangyuan Zhang No more artificial design except for the 4 yards is carried out. The 4 yards are named by bamboo, plum, orchid and chrysanthemum. Outside the building, crops and vegetables are planted by the local farmers as their will. The high wild metasequoias and thick beds of reeds are kept as before.  © Yanzhi Jiang It's a building in order to improve the conditions for the village, which does well in dealing the relationship between the neighbors, the villages. Because of the light structure and prefabricated constructions, no influence is made to the life of farmers nearby. They worked in the fields around the site in spring and autumn, watching the building growing.  © Yanzhi Jiang They discussed the style and meaning of such a new house that might change their life and they even attended the design of some details, such as the bolts, the handles and the ridges. By such a small project, the local government improves the relationship with the villagers and strengthens the native culture.  © Guangyuan Zhang  This posting includes an audio/video/photo media file: Download Now |
| Jungle Station / G8A Architecture & Urban Planning Posted: 19 Apr 2018 05:00 PM PDT  © Tran Nhat Quang
 © Tran Nhat Quang Text description provided by the architects. In the context of a dense urban landscape it is logical that the rising start-up community would turn towards the highly efficient concept of co-working for their professional solutions. These spaces must effectively combine the positives of both public and private arenas offering the professional users an efficient resource platform whilst also encouraging social interactions and accommodating for the temporary visitor.  © Tran Nhat Quang  Jungle Station Existing 01  © Tran Nhat Quang In the core of Ho Chi Minh City and enclosed in the center of a large factory complex, "Jungle Station" sets the benchmark for conceptual design of such spaces. The entirely refurbished printing factory responds not only to the logistical complications of shared program condensation but reflects on the intangible experience of shared space.  Jungle Station Section The conception of a tropical environment that also facilitates the flow between the various programs is possible via the feature element of the "Green Connector". The vegetal spine runs centrally through the space both horizontally and vertically remaining visible from any public zone of the building. More than a simple combination of potted plants, the cooling and calming capacities of the Green Connector occupies all echelons of the space, from large succulents to hanging creepers and an aromatic herb garden. This green connector also plays the role of "social connector" as traffic allows itself to pause among the foliage. With resting and working stations dotted along the central plantations, the specialized coffee bar caters for a relaxed break.  © Tran Nhat Quang By opening a central chasm and removing a large part of the roofing, natural sunlight is filtered through the layers of leaves and allowed to spill through the building, enhancing the sensation of a naturally tropical, vegetal environment. As the sunlight shifts over the building the users are able to feel in touch with the natural advancement of the day. Each closed office space, distributed rationally along the facades is able to view this luminous centerpiece.  © Tran Nhat Quang To allow for focus and highlight the presence of the green organic volumes, architectural elements are left raw, minimal and monochromatic. Here a balance is created by reintroducing traces of the structure's industrial past, revealing operational and technical elements of the building such as support beams, ventilation systems and cabling. Details of industrial character; exposed textured brick and dark steel are contrasted to the organic elements prevalent throughout.  © Tran Nhat Quang  This posting includes an audio/video/photo media file: Download Now |
| Hangzhou Normal University / WSP ARCHITECTS Posted: 19 Apr 2018 03:00 PM PDT  Hangzhou Normal University Central Plaza. Image © RUIJING Photography
 Light View. Image © RUIJING Photography Text description provided by the architects. Century-old Hangzhou Normal University builds a new campus five kilometers west of the Xixi Wetland. Here, there is a typical river network in the south of the Yangtze River. One kilometer west of the University is the Warehouse Street of nearly nine hundred years of historical heritage; Water Silk Cotton was once prominent.  The Reclusive Beauty of Hangzhou Normal University. Image © Hui Zhang The new campus planning consists of more than a dozen independent but fully open colleges, whose architectural style are different, forming a rich puzzle. In the center of these colleges, the planner arranged a core area complex for all the colleges, including administrative center, archives, adult education centre, institute of Hangzhou urbanization, center library, teacher and student activity center, hotel and reception center, international conference center, theatre and central plaza; these are the design tasks we are facing.  The Spiritual Feel of Hangzhou Normal University. Image © Hui Zhang  Diagram  Hangzhou Normal University Under the Rain. Image © Hui Zhang Concepts and ideas start with urban design. First of all, a huge site is divided into several smaller-scaled blocks, which are completely open to each other and closely connected to surrounding colleges. Each block is based upon one main function, considering the requirements of an independent managing body for operational management, the blocks are also linked with each other to meet the needs of convenient and flexible use. As far as possible, the ground buildings are arranged to the outside of the blocks, so as to enclose the Main Square in the middle, and the central axis connecting south subway station passes through the square. Here is defined as a fully open space for pedestrians.  Hangzhou Normal University Under the Blue Sky. Image © RUIJING Photography Architectural design is based on a strict modular system, which is used to control the plane, elevation and details of construction of this complicated functional complex, so as to ensure reasonable economic cost, to achieve a high degree of completion of construction quality; and to reduce the burden on future operations and maintenance. It is also a highly adaptive modular system, and we carried out the targeted adjustments to the different requirements of the ten main functions.  Shifted platform Gives a Variety of Scenarios. Image © RUIJING Photography  Section  Hangzhou Normal University Under the Blue Sky. Image © RUIJING Photography Besides the standardization of modular system and the most apparent framework of the structure, the architectural presentation to teachers and students is a soft and changeable image, with the expression of our understanding of Hangzhou city character. It is a direct reflection of the functions such as functional interconnection, outdoor activities, ventilation, and sunshade and so on. It also reduces the volume of the building. As the campus commanding height defined by the plan, we want to make it look like a viewing platform in the landscape, overlooking the campus, overlooking the old streets and looking out over nature.  Like a Book. Image © Hui Zhang Century-old school is reborn in the new century; the interconnected platform is an open stage for teachers and students to perform infinite innovations.  Hangzhou Normal University Under the Blue Sky. Image © RUIJING Photography  This posting includes an audio/video/photo media file: Download Now |
| Nojiri-ko Nature Platforms / SUGAWARADAISUKE Posted: 19 Apr 2018 01:00 PM PDT  © Jérémie Souteyrat
 © Jérémie Souteyrat Text description provided by the architects. This is a lakeside cottage at Nojiri-ko (Lake). The design target is generating a new lifestyle in the midst of natural landscape by recomposing relationship between nature, building, objects and human beings.  © Jérémie Souteyrat  Diagrams 5 platforms with all different sizes, heights and materials transform those function beyond the floor to table, bench, bed, shelf, view reflector and canopy. These platforms create different openness, thermal condition and perspectives with layering structure according to ground undulation and forest landscape. The layering platforms rearranging the hierarchy of landscape/site/building/furniture/object together with generating new living space in the nature.  © Jérémie Souteyrat  Section 01  © Jérémie Souteyrat Open grid structure encouraging, emerging architectural potential to enhance the life with nature concern to the daylight transition, 4 seasons and resident's lifestyle. Platforms reconstruct "Horizontal Building Elements" into one feature of Nojiri-ko Forest to generate diversity of places, activities and innovation in the nature for people. This project represent opening to the scenery style, together with delightful, esthetic of the nature and transition of the time.  © Jérémie Souteyrat  This posting includes an audio/video/photo media file: Download Now |
| NOUS Restaurant&Flowers / 0321 STUDIO Posted: 19 Apr 2018 12:00 PM PDT  © Meat mountain
 © Meat mountain Text description provided by the architects. Nous opened its first pioneering experimental floral restaurant in Dongcheng District in Dongguan early this year, offering mixed services of exploring the aesthetics of ingredients and floral matching. The creative agency 0321studio in Shenzhen collaborated with Nous to organize and design this shop along the street. The customer's request focuses on how to solve the relationship between floral and dining in visual, functional, and emotionalways.  © Meat mountain  Elevation  © Meat mountain We believe that the importance of space is the relationship, connections between people and space, between space and space, and between emotion and environment. First of all, we choose solely one material to maximize its contact with space. Both the area of appearance and its own mechanism try to differentiate its recognition from conventional materials. The project will reduce the amount of terrazzo aggregates and auxiliary materials. Emphasizing the randomness of the white aggregates and enlarging their size, forming a special material mechanism, and creating an extreme visual experience over a large area attempt to influence the customer's emotions and create a unique dining experience.  © Meat mountain The design concept proposes to rethink the necessity of easily recognizing a restaurant from the outside. The visual information of restaurants along the street is completely hidden behind the floral function. The floral area is not affiliated with the dining area, instead it interferes by jamming between the interior and the public street.  © Meat mountain A transparent cube stands in the doorway, serving both as a street backdrop and as a background to the restaurant when people look outside. And this box must be translucent. Restaurant-goers need to go through this box. We like this kind of conflict and even interference rather than a mediocre and harmonious coexistence.  © Meat mountain We choose a relatively large-scale appearance of transparent colored glass, as the boundary between the store and the outside world, and combine flower display, floral operation, storage and other functions to create a full metal mass.  © Meat mountain  © Meat mountain Long cast-in-seat terrazzo seats, combined with two centimeter-thick fur blankets and simple metal components create a neat seating layout, maintaining and enhancing the customer's unique dining experience. This also achieves the important elements of space and differentiation from other similar restaurants without losing comfort, inspiring everyone's imagination in this environment, especially dinning imagination.  © Meat mountain The pink staircase serves as a space decoration element as well as the vertical traffic tool. Finally, we would like to talk about the wall fragments related to intensive phobia. Compared with its decorativeness, we care more about its emotional intensiveness, two-dimensional obstacle aesthetics in three-dimensional space.  © Meat mountain  This posting includes an audio/video/photo media file: Download Now |
| Te Horo Bach / Parsonson Architects Posted: 19 Apr 2018 10:00 AM PDT  © Paul McCredie
 © Paul McCredie Text description provided by the architects. Te Horo Bach: Is a small (87m2) holiday house for a family of four. A retreat, located an hours drive north of Wellington on wild and beautiful dune-lands in a newly developed coastal subdivision with large section sizes. It is a small economically planned fibro and batten clad building that has its design roots partly in the NZ bach tradition, with an explorative use of form, color and material. As part of the subdivision rules, there was a limited color palette available.  © Paul McCredie  Floor Plan  © Paul McCredie We went beyond this with additional colors added to the sides of the exterior battens, that aren't apparent when the façade is viewed straight on. The layers of color are intended to coordinate with the wider environment. The plan is bookended by 2 bedrooms with the living space in the middle, opening both east and west allowing access to decks, sun, and shelter from the prevailing north-westerly coastal winds.  © Paul McCredie To create a subtle intimacy in the in the open plan living space, it is laid out in a pinwheel pattern creating diagonal spatial flows with the 'L' shaped window seat and joinery diagonally opposite the kitchen. The section is easy to care with native grasses and plantings and the lawn areas cut in for cricket and parking cars.  This posting includes an audio/video/photo media file: Download Now |
| Croft Residence / AUX Architecture Posted: 19 Apr 2018 08:00 AM PDT  © Andrew Dinsky PLG Estates
 © Hunter Kerhart Text description provided by the architects. West Hollywood Residence by AUX Architecture: This single-family home, designed by Brian Wickersham and his firm, AUX Architecture, was designed to meet the economic demands of maximizing square footage while preserving indoor-outdoor living. A roof garden provides additional outdoor space that was otherwise displaced by the building footprint.  © Hunter Kerhart The material shift of white stucco against gray Equitone fiber cement board panels is intended to read as if the gray mass is being cut away to reveal the museum quality white interior – like a box with incisions made into it. A balcony off the master bathroom is the perfect example.  © Hunter Kerhart _CROFT_GROUND_FLOOR_PLAN-01.jpg?1524136176 "Ground Floor Plan") Ground Floor Plan  © Andrew Dinsky PLG Estates Challenged by a lot only 40 feet wide, the residence features living spaces all designed to open to the outside. An existing pool on the site was reduced in size and left in place so the main living spaces open to it. This West Hollywood residence is the result of an architect and developer relationship gone wonderfully right.  © Hunter Kerhart The productive collaboration between Wickersham and developer David Bilfeld of Rebel Construction was established by discussions about the qualities of modernism, light, openness, clean design, and inside-outside living, resulting in a revelation for Bilfeld: a solidified love for modernism. The project took shape at high speed, as it was designed and submitted for permits in a two-week span (in order to submit before a new city zoning requirement took effect).  © Andrew Dinsky PLG Estates _CROFT_SECOND_FLOOR_PLAN-01.jpg?1524136168 "Upper Floor Plan") Upper Floor Plan  © Andrew Dinsky PLG Estates  This posting includes an audio/video/photo media file: Download Now |
| Studio Gang Unveils Images of Rippled Condominium Tower in Brooklyn, New York Posted: 19 Apr 2018 07:00 AM PDT  Courtesy of Binyan Studio Gang has released details of their proposed condominium tower in Downtown Brooklyn, New York City. "11 Hoyt" has been designed with an emphasis on nature and community-building, responding to a lack of comfortable outdoor space in Brooklyn through the creation of an "outdoor-indoor environment." The Studio Gang scheme reclaims a former parking garage site in a rapidly-densifying area, where the population has increased by 40% in twenty years. 11 Hoyt is set to transform the site into an elevated green podium anchored by a 770,000-square-foot (71,000-square-meter) residential tower featuring a "scalloped" façade.  Courtesy of Binyan The scheme's green podium acts as a fifth façade for the building; an indoor-outdoor environment encouraging neighbors to meet and interact among trees and gardens. As the 620-foot-tall (190-meter-tall) scheme rises, the tower's façade pushes out in plan to create expanded living spaces for the 490 residential units, arranged in 190 unique floor plans.  Courtesy of Binyan The tower's eye-catching "scalloped" façade is to be built of precast concrete, prefabricated along with the residential units to be installed into the structural core on-site. As the façade projects outwards and inwards, it creates an inhabitable interior space with built-in window seats framing eight-foot-tall windows, offering views of the scheme's rippled façade, the surrounding neighborhood, and the waterfront beyond. News via: Studio Gang
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| Lycée Français de New York / Ennead Architects Posted: 19 Apr 2018 06:00 AM PDT  © Richard Barnes
 © Richard Barnes  Transformation  © Richard Barnes Text description provided by the architects. Ennead has worked with Lycée Français de New York for over 15 years, beginning with the design of the Main Building in 2003, which unified the school which was once housed in six separate buildings into a single location. Since then, Ennead has worked with Lycée Français de New York every year to respond to the school's curricular evolution. Most recently, Ennead expanded the school to accommodate for their transformed curriculum while providing a new dignified presence on York Avenue.  © Richard Barnes Main Building (2003) The Lycee Francais de New York revitalizes a vision for a new international, multicultural school that fulfills the need of a unique curriculum and the school's more than 1,000 students. Intended to convey the rigor and order of the school's French pedagogy, the design is inspired by the school's unique history in New York City, the memory of the six original Beaux Arts building that had defined its previous home, and the rhythms, forms and materials of New York City's dense Cartesian landscape. Spatial variety, rational planning principles and sectional organization, attention to proportion, façade syncopation, expressed structure and materials are unified in a dynamic framework. Located on a through-block site between 75th and 76th streets on the Upper East Side of Manhattan, the school is made up of two buildings connected by a three-story base – one above and two below-grade. A central courtyard acts as the ͞Coeur͟ of the Lycee, creating the opportunity to define a true French cultural center and landscaped focal point. Two distinct faces to the city, north and south, reflects upon the inherent duality of French and American culture and the solar orientation of the building. The north façades are characterized by translucent channel glass systems, which capitalize on natural and reflected light. The sough sides are pre-cast concrete reminiscent of the limestone facades of the school's original building. Internally, shared school-wide program spaces such as libraries, cafeteria, auditorium and gymnasiums unify the school at the three lower levels. Above ground, the southern structure is designated as the secondary school while the northern structure is the maternelle and primary school. The rooftops of both structures are used for recreation and outside gathering.  © Richard Barnes  © Richard Barnes  © Richard Barnes York Wing (2016) The new wing at the Lycee Francais de New York, positioned prominently on York Avenue, creates a more public face to the school on the avenue and a new point of access into the main facility from the City. The addition is strategically connected to the main building providing important new spaces for teaching and learning. In addition to new classrooms, administrative offices and study areas, a double height media lab – a state-of-the-art broadcast studio – forms the intersection between the two buildings and equips the school for its role as a center for cultural exchange. The design supports a renewed focus on the importance of sustainability and community incorporating energy efficient systems, a rooftop wind turbine and the use of recycled channel glass providing daylight throughout with views back to the city from the top floor.  © Richard Barnes  Sustainability  © Richard Barnes  This posting includes an audio/video/photo media file: Download Now |
| Rogers Stirk Harbour + Partners' 3 World Trade Center Nears Completion in New York Posted: 19 Apr 2018 05:00 AM PDT  Courtesy of Silverstein Properties New images have been released of Rogers Stirk Harbour + Partners' 3 World Trade Center in Manhattan, in advance of its June 2018 opening. The 1,080-foot-high (330-meter-high) building will be the fifth-tallest in New York City, and will feature the tallest private outdoor terrace in Lower Manhattan. The scheme forms part of a larger development of the World Trade Center site, including SOM's One World Trade Center, BIG's 2 World Trade Center, and a Transportation Hub by Santiago Calatrava.  Courtesy of Silverstein Properties  Courtesy of Silverstein Properties Bound by Greenwich Street and Church Street, 3 World Trade Center sits opposite the WTC Memorial and Cultural Center, a relationship which heavily informed the architectural form. The scheme reduces in massing as it rises, stepping back to accentuate the building's verticality while remaining sympathetic both to the memorial site and surrounding buildings.  Courtesy of Silverstein Properties  Courtesy of Silverstein Properties Structurally, the scheme consists of a reinforced concrete core, clad in an external structural steel frame. The building achieves several milestones, being the only building in the world to have a three-sided cable net wall and the first in the world to have an annealed glass exterior.  Courtesy of Silverstein Properties The scheme consists of 80 floors, creating a gross floor area of over 2.8 million square feet (260,000 square meters) across a 60,000-square-foot (5,500-square-meter) site. The lower part of the building hosts five retail floors and five trading floors, accessed via a three-story, 62-foot-tall (19-meter-tall) lobby outfitted in Black Zimbabwe granite walls and Sardinian white granite flooring.  Courtesy of Silverstein Properties  Courtesy of Silverstein Properties Above, 54 office floors totaling 2.1 million square feet (195,000 square meters) respond to the underlying goal of the World Trade Center development, revitalizing the area as a commercial and financial powerhouse for Lower Manhattan. News via: Rogers Stirk Harbour + Partners / Silverstein Properties
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| Posted: 19 Apr 2018 04:00 AM PDT  © Gonzalo Viramonte
 © Gonzalo Viramonte Text description provided by the architects. Projecting a house of such big scale and in just one-story has faced us to difficulties we never had experienced before in domestic architecture.  © Gonzalo Viramonte  Plan  © Gonzalo Viramonte For example, how to link the different areas in such a widespread surface or how to do in order that corridors do not seem to be endless…  © Gonzalo Viramonte The first decision was to divide the floor plan in three independent, very well differentiated blocks.  © Gonzalo Viramonte One of them corresponds to the house in strict sense, placed perpendicularly to the street, west/east orientation with its principal facade opened up to north. The other two blocks were placed parallel to the street; one is a garage for collection cars and the last one, the “quincho” (covered grilling and entertainment area). Their exterior faces were used as solid closing to refuse to the west orientation.  Section B-B Inside the three volumes are "sewed" by a cantilever slab that joins them, allowing the protected circulation outdoors, which does not blur its volumetric autonomy but it brings unity.  © Gonzalo Viramonte In the house’s volume, the resource we used was to penetrate and drill the block with green areas, which helps to organize spaces and simultaneously contributes to environmental quality.  © Gonzalo Viramonte The materials were carefully thought to contribute expressive quality to the big surfaces to cover and also obey the premise of low maintenance materials.  © Gonzalo Viramonte White-faced concrete was used with smooth formwork in the slabs and textured in the vertical walls. Copper aged plates in vertical panels, Patagonian porphyry floorings, black anodized aluminum windows and double hermetic glazed.  © Gonzalo Viramonte Inside, unpolished marble stands out as large plates, specially chosen at San Luis province (Argentina), starting in the entrance hall and go along with all linear circulation.  © Gonzalo Viramonte Almost all the flooring is made of engineered Slovenian oak wood; porcelain tile was used in service rooms. The concrete also intervenes in two large partitions that organize the public area of the house.  © Gonzalo Viramonte Despite its size, the home is introverted in its conception, being denied to the street but embracing a great inner park.  © Gonzalo Viramonte Perhaps its grandiloquence is subtly expressed in the quality of its materials, the purity of details and its respect to not disturbing the distinctive profile of a suburban residential neighborhood.  © Gonzalo Viramonte  This posting includes an audio/video/photo media file: Download Now |
| Het Nieuwe Instituut's Call for Fellows 2018 Posted: 19 Apr 2018 03:30 AM PDT
Het Nieuwe Instituut announces an open call for three research fellows to work in residence from September 2018 to February 2019, with the title: BURN-OUT Since its founding in 2013, Het Nieuwe Instituut has pioneered research in architecture, design and digital culture, fostering programmes, exhibitions, lectures, archival investigations and publications in the Netherlands and internationally. Through its annual Call for Fellows, Het Nieuwe Instituut's Research Department acknowledges and gives visibility to research projects offering departures from established modes of thinking and to become a catalyst for collective forms of knowledge. For this iteration of the Call for Fellows, the Research Department has selected the theme of BURN-OUT, and has invited 2017 fellow Ramon Amaro to be the guest curator of the Call. BURN-OUT In addition, over the past years, an increasing number of debates have emerged in the fields of architecture, design, and digital culture surrounding issues of fairness, accessibility, accountability, the removal of institutional bias as well as the overcoming of exploitation of human and non-human bodies.These conversations reveal an impasse and the persistent presence of exploitative structures on scales ranging from the individual to that of the wider social, institutional and biological ecologies. While research and practice continue to promote the inclusion of voices and perspectives of difference — as well as investment in excluded communities — more equitable and inclusive environments have yet to fully materialise. The fact remains: social, cultural and economic inequalities are still mediated by the same conditions that promise to alleviate these concerns. The consistency of divisive and exploitative climates questions the foundations of trust, experimentation and self-awareness; not to mention the flow of critical thought and creative expression. It must be asked: Have all options for non exploitative spaces been exhausted? Have the fields of architecture, design and digital culture reached their limits of critical enquiry? Can existing structures be re-shaped as non exploitative spaces for public and private good? Or, has it all burned out? On the one hand, to 'burn out' is to stall, break, or become otherwise unusable. In other words, processes, procedure and participation simply stop working. On the other hand, 'burn out' is an opportunity to break open, promote action and catalyse change towards new structures and relations. How can new, unconventional approaches to research, administration, communications, critical thought and practice be developed and utilised to challenge the inevitability of BURN-OUT? Which other approaches might be considered? Het Nieuwe Instituut invites applicants to send their proposals for the 2018-2019 Het Nieuwe Instituut Research Fellowships. Three fellowships are open to applicants with existing or proposed research based in the Netherlands or worldwide. SELECTION CRITERIA 1. Applicants are encouraged to submit a critical and forward-thinking research proposal that addresses the 2018-2019 core theme: BURN-OUT. This may incorporate a larger system of references, schools of critical thought and trans-disciplinary practices, as well as different forms of engagement. Ultimately, applicants should consider how their proposal might impact wider technological, political, social and or biological ecologies. Proposals can also account for multiple scales, from the level of the individual to that of institutions, the city, culture or larger bodies of research. 2. Applicants are invited to approach the theme of BURN-OUT from the lens of architecture -, design - and/or digital practices, as well as to challenge the very notion of the real and imagined boundaries of these disciplines. Their points of departure may include — but are not limited to — areas of computation, climate/environment, race/post-coloniality, queer/trans/non binary studies, health and wellness, as well as the collection of the State Archive for Dutch Architecture and Urban Planning at Het Nieuwe Instituut. At least one, or a combination of, approaches are encouraged, which may range from documenting and visualising to legal frameworks and spatial strategies. 3. Priority will be given to applicants that depart from established modes of thinking, develop a distinctive research approach, activate multiple channels for dissemination of research outcomes, and construct a network of collaborators and other institutional contacts from within the Netherlands and abroad. Ultimately, applicants are asked to take into account how the proposed research might build upon (or re-articulate) existing relationships and research initiatives at other institutions and organisations in the Netherlands, locally in Rotterdam, or abroad. 4. The Research Department at Het Nieuwe Instituut also encourages applicants to propose projects that challenge the ongoing activities of Het Nieuwe Instituut — and in particular its Research Department, which is committed to embrace and put into practice these ideas and paradigms in its daily activities. This could involve labor ethos, forms of engagement, and strategies for internal and external collaboration that are not dependent on exploitative, extractive, and discriminatory technologies and economies. Whilst Het Nieuwe Instituut is based in the Netherlands, its focus is both outward and inward thinking. As such, the institute invites applicants from all citizenships and places of residence (including the local city of Rotterdam) to join its mission to foster the next generation of critical thinkers and practitioners. Het Nieuwe Instituut Research Fellowships are open to all degree levels in all disciplines. Equal priority will be given to those without a degree or institutional affiliation who can also demonstrate a high level of creativity, critical thought and other potentials in their respective fields. Neither a curriculum vitae nor letters of recommendation are requested. There is no age limit for applicants. Previous fellows include Ramon Amaro, Andrea Bagnato, Daphne Bakker, Annet Dekker, Tal Erez, Sara Frikech, Dan Handel, Ruben Jacobs, Chris Kabel, Christopher Lee, Roos Meerman, Christien Meindertsma, Simone Niquille, Sascha Pohflepp, Malkit Shoshan, Matthew Stadler, Noam Toran and Füsun Türetken. More information about them can be found here. Het Nieuwe Instituut Research Fellowships are 6-month positions based at Het Nieuwe Instituut in Rotterdam, the Netherlands from September 2018 - February 2019. They include a monthly stipend of 2.000 EUR, and a return trip from the country of residence. Stipends may be subject to a withholding tax. Fellows are responsible for arranging their own accommodation. Fellows must be able to attend regular meetings in Rotterdam. The terms of the Research Fellowships will be agreed on an individual basis with respect to research subject, location and residence eligibility. The Research Fellowships will be developed through independent research; individual support and interaction with the Research Department team; monthly meetings with all fellows to discuss thematic and methodological aspects of research. Each fellow is invited to organise a public presentation in late 2018 or early 2019 related to their individual projects, as part of Het Nieuwe Instituut's Thursday Night Live! or other programmes. The research outcomes of each fellow will also be disseminated on an ongoing basis via Het Nieuwe Instituut's website, newsletter or publications. Projects may contribute to future exhibitions or events or develop independently of the public programmes at Het Nieuwe Instituut. Fellows and the award recipient have daily access to the facilities of Het Nieuwe Instituut, including the library, archives, exhibitions, workspaces and presentation rooms. Other resources may be available in concert with other departments of Het Nieuwe Instituut as well as its ongoing institutional partnerships. Applications are open from April 18 to June 1 2018. Pre-selection June 2 - June 15 A pre-selection of applications will be made by the Research Department: Marina Otero Verzier – Director of Research, Marten Kuijpers – Landscape and Interior, Research Department, Tamar Shafrir – Materials and Things, Research Department, Klaas Kuitenbrouwer – Digital Culture, Research Department, Katía Truijen – Digital Culture, Research Department. More information about the pre-selection team can be found here. A jury composed of leading international practitioners in architecture, design, digital culture and artistic research, as well as two representatives of Het Nieuwe Instituut, will select the three fellows. Jury members include Ramon Amaro (Associate Lecturer in Interactive Media: Critical Theory and Visual Cultures, and a PhD researcher at the Centre for Cultural Studies, Goldsmiths, University of London), Guus Beumer (General and Artistic Director, Het Nieuwe Instituut); Sandi Hilal (architect, co-director Decolonising Architecture Art Residency (DAAR); Marina Otero Verzier (Director of Research, Het Nieuwe Instituut), Nishant Shah (Dean of Graduate School at the ArtEZ University of the Arts), and Jasmina Tešanović (author, feminist, political activist, translator, and filmmaker). More information about the jury members will be announced in the coming weeks. The jury will select one application for each of the three fellowships. Members of the jury will have access to all applications and can add any proposal to the pre-selection list at their discretion. All applications will be reviewed on the basis of their engagement with the fellowship theme, depth of investigation, idiosyncrasy, connection to Het Nieuwe Instituut's mission, and potential for exchange between fellows and across disciplinary boundaries. Preference will be given to proposals that include collaborations with institutions, NGOs and organisations in the Netherlands and abroad. SUBMISSION REQUIREMENTS AND DEADLINE 1. One 500-word research proposal. 2. You must also include one of the following, introducing yourself and your research/work: A video no longer than 1 min. in length 3. A proposed calendar and a working methodology or research approach (maximum 300 words) 4. Contact information (full name, country of residence, e-mail address, telephone number) 5. The file should be titled with the name of the applicant and the research proposal, in the following format: SURNAME_NAME_PROJECTNAME.pdf Applications and supplementary materials should be written and/or spoken in English and submitted, by attachment, in a single PDF file of maximum 10MB, consisting of maximum 5 A4 sheets. We understand that English proficiencies may vary. We also recognise that English may not be the applicant's first or primary language. As such — even though proposals should be submitted in English — all proposals will be considered on the sole basis of the criteria specified above, regardless of English language skill. Proposals should, however, be as thorough and specific as possible. Unfortunately, we are not able to offer translation support at this time. Applicants with reasonable adjustments and specific needs are encouraged to contact callforfellows@hetnieuweinstituut.nl about the availability of any support services.  ASMR (Autonomous Sensory Meridian Response). Artwork by Lisa Gliederpuppe.
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| Zaha Hadid Architects Designs Parabolic-Vaulted School Campus in Rural China Posted: 19 Apr 2018 02:40 AM PDT  © VA Zaha Hadid Architects has unveiled its design for the Lushan Primary School, an educational campus that will serve around 120 students from 12 villages in a rural area of Jiangxi Province in China. The design features a series of barrel and parabolic vaults constructed from concrete, which are oriented to offer optimum lighting conditions and views out to the landscape.  © VA Comprising the school, dormitory and utility buildings, the length of each vault is adapted to accommodate the school's program. At the center of the largest cluster of vaults, a courtyard provides a circulation space and play area. The ends of the vaults cantilever beyond the building envelope to extend the teaching environment outdoors and to protect the interior from solar gain.  © VA Due to the remote location of the school, Zaha Hadid Architects has proposed a novel method of construction in which the complex formwork for the concrete vaults will be manufactured on site. A robot arm with a hot wire cutter will be delivered to site and shape foam pieces to create the concrete molds. Since the vaults are modular, these formwork pieces will also be reusable.  © Zaha Hadid Architects The building will be finished with ceramic external surfaces, referencing the region's history of producing high-quality ceramics which dates back to the Ming Dynasty. These external finishes will include a gradient of tones that delineate the programs within each building.
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| Posted: 19 Apr 2018 02:30 AM PDT  Courtesy of Elizabeth W Garber This article was originally published on Common Edge as "Growing Up in a Glass House: An Architect's Daughter Explores Modernism's Shadow." Elizabeth W Garber's new book, Implosion: A Memoir of an Architect's Daughter (She Writes Press), tells the story of growing up in a glass house, designed by her father, Woodie Garber, once called "Cincinnati's most extreme, experimental, and creative Modernist architect." The memoir, which will be released in June, focuses on a family caught in a collision between modern architecture, radical social change, and madness in the turbulent 1960s in Cincinnati. Recently I talked to Garber about the book, the strictures of Modernism, and why she couldn't live in a glass house today.
Baron Wormser: Your book offers a personal story about what it was like to experience the ethos and ideology of modern architecture from the inside—growing up with an architect father. How did you take in the spirit of modernism as you grew up? Elizabeth W Garber: The language of modernism was one of the first languages I learned. My father trained my mind in the aesthetics of modernism, like religious men train their children to recite the names of saints and memorize sacred texts. I was drawn to the magnetism of his enthusiasm. I was hooked on performing well because I wanted to shine in his attention. It is a seductive dynamic to introduce a child into a heady magnetic language. I repeated the names of architects, like mantras, Mies, Alto, Gropius, Saarinen, but especially Le Corbusier. By age eight, I declared my favorite Corbu house was Villa Savoye. How many children chant the words "hyperbolic parabola" while looking at arching roof lines? At my dad's office, before my legs were long enough to reach the floor, I studied photos of Le Corbusier's buildings. I was trained to read plans and tried to visualize the spaces these pencil marks described. BW: Your father was, in many ways, an impossible man. Do you think his attachment to modernism affected him? What did it mean to him? EWG: My father was not always impossible. That came later when he was under pressure and embattled. His father was a Beaux Arts architect, a German patriarch, and his mother, a very proper Victorian lady, who was strict with her sons. This familial constraint and rigidity collided with the 1920's. The first time my father heard jazz it split open his world, even though he was forbidden to even say the word "jazz" at the dinner table. Something similar happened in college when he was introduced to modern architecture. He latched onto it with all his being, it became him. The principles of modernism became more important than his family. It was a repudiation of his mother's long skirts, of heavy decorative furniture, of his father's architecture copied from Greek columns, and Thomas Jefferson's designs. He and his father had furious battles about architecture in his father's medieval-styled library. My father would have to fight for nearly every modern building he would design in conservative Cincinnati from the 1950s to the 1970s. Sometimes the battles enlivened him, but over time were embittering. My father loved to teach and loved his students. I was a devoted student which guaranteed his love and attention, until I became a teenager. My brothers and I came of age in the 1960's, with the culture engulfed in radical change. Suddenly our father, the radical modernist inspired by architects of the 1920s, was pitted against the new radicals who he felt challenged what he believed in. He became embattled against us, his children and his wife. He made us the enemy. He was caught in a web of increasing fury fueled by mental illness. That made him impossible. BW: What did the modernist house in which you grew up mean to you? EWG: When I grew up in a Victorian home, where my family had lived for three generations, I felt like a girl in a Louisa May Alcott novel. But when I was five, my family stayed for a week in a modern cottage my father designed for friends on Nantucket. This was my first experience of living in the modern. I felt sun, wind, and light burnished by the house as much as the sea. Some of my most vivid memories of my childhood came from that light-filled space. I was a different girl there. I waited excitedly, enticed by my father, for when we would have our own modern house and leave the past behind. In the mid-60s, when we moved into our family's glass house, the feelings about our house were complicated. At first it was a rough, unfinished plywood box with glass walls surrounded by muddy fields. We lived in a construction site where our family worked together every weekend to finish the house. My loving, fascinating father for the most part vanished and become a taskmaster running a construction job, and at ages twelve, nine and six, my little brothers and I were often found lacking. This was the beginning of our being lectured regularly. It was strange to move into a space designed for us but that we had no voice in. I felt sick when I studied the plans and realized that the two twin beds and chairs in my room were already drawn in. I didn't even have a say about my own room. As the house was finished, filled with modern furniture, art, sculpture, overhead lights and huge speakers for the record player, it became a "masterpiece," breathtakingly beautiful and almost too much. We were just kids. We wanted a home without saws and sawdust. We were proud of this accomplishment. We had attained what we had all wanted. But it was too bright, too loud. Not cozy. No privacy. Sometimes I felt exposed by day, and felt self-conscious when the long glass walls became mirrors at night. Like living in a museum to all things modern.  The Garbers building the family masterpiece. Image Courtesy of Elizabeth W Garber BW: Was there something frightening in your father's version of modernism? EWG: I felt a shadow over our life in the glass house, a kind of dark mirror we were caught in. There were rules of modernism that controlled our life. Corbusier said no couches, no curtains, no floor lamps, and we couldn't question the rules. We had nowhere we could sit together. We sat isolated, islands in Knolls and Eames chairs under ceiling spotlights. My father's bi-polar intensity, that had been subdued in our Victorian house with its many passageways, now expanded in the vast glass-walled Great Room. As he turned the lights brighter, the music louder, he amped up, living his dream of modern life. Our lives became overexposed and boundaries forbidden. It was a dangerous cocktail. Our life imploded. BW: You empathized with what your father was doing as an architect. Did you see him as a hero tilting at the enemies of modernism? Or something else? EWG: When I walked around in my father's buildings as a girl, especially the Cincinnati Public Library, I was in awe of my father. My grandfather's buildings were some of the most impressive in the city, including one of the towers on the city's skyline, Central Trust Tower. I felt like architects were the most important people in the world. I sympathized with my father's battles to get his buildings completed, which we heard about at the dinner table. When I was working on my memoir, a mentor said it wasn't surprising that I studied Greek epic in college. "You grew up in a mythic world, and your father was a hero of mythic proportions." Like Odysseus, my father was an embattled, trickster hero. But in the epic, the hero eventually found his way home. No matter how conflicted I felt about my father throughout my life, I wanted him to find his way back home. BW: As a girl and then a woman, did your father's brand of modernism feel sexist—for men only? EWG: So much of life in the 50s and 60s felt sexist, and a man's world. My father's office was all men working at the drafting tables, and one woman, his secretary. When I announced as a girl that I wanted to be an architect my father nixed my idea immediately. He said the construction world was too tough for women to stand up to men on the job, and they wouldn't respect a woman managing the job. My father attended an all men's literary club that didn't even allow women to serve them meals. My father announced that I would go to secretarial school so I could work my way through college. I was furious. I would not be a secretary! But there were exceptions with my father having working relationships with two women. As Alice Friedman points out in Women and the Making of the Modern House, many modern houses came about because of remarkable collaborations between the woman client and the architect. There was a client my dad had known since they were undergrads at Cornell who he acknowledged could have been an architect but became an artist and rug designer instead. She wanted a house with no right angles and had very specific requests for the layout of her house. My father acknowledged their collaboration.  Courtesy of Elizabeth W Garber BW: Did you feel you had to carry on the modernist aesthetic, that it was part of your legacy? EWG: At first when I left home at age 19 and lived in France for a year, I went on pilgrimages to buildings designed by Le Corbusier. I wrote several long letters home about my visit to Villa Savoye. But my father's world and aesthetic had became entwined with the emotional pain we suffered living with him. I wanted to escape his world and find out what interested me. Writing became something that was mine, different from my father. I wrote in journals, sometimes 10 pages a day, trying to develop my own voice. In my twenties, acupuncture treatment brought me out of years of depression. I chose it as my profession to help others. After my childhood, I needed something different than my father. I needed a way to understand mental illness and suffering, and this gave me a way to help people heal from terrible pain. I haven't felt a need for a modern space to live in. I grew up in a masterpiece. I couldn't ever repeat that. I've lived in homes in a variety of American vernacular styles, many of which I helped renovate. When the glass house I grew up in came up on the market a few years ago, I showed the video tour to my daughter. She got excited about the house. "Wouldn't it be cool to live there? Do you ever think of going back, Mom?" Despite the financially impossibility, I let myself imagine living there for the first time since I left at 19. My first thoughts were how I'd have to buy modern furniture to outfit the house. There felt an immediate expectation of art and fine things to outfit the house. The legacy of being a showcase, a monument to modernism, and needing the exquisite objects to outfit the house came rushing in. I felt the expectation of perfection, and the seduction of objects that were part of a sensibility that is not how I live now. I rapidly pushed the idea away, relieved to live in my more modest home in Maine. BW: You do a superb job in your book of delineating what your mother went through in her marriage. How much did she buy into his vision? EWG: My mother was a naïve twenty-year-old, when she met my dad who was 37 and going through shock treatments to treat his profound depression. She married him because she felt he needed her help. My dad picked out her clothes and jewelry. He bought her art books so she could learn about modern art. She worked hard to please him. It was not a natural thing for her to love modernism. She felt inadequate in his world. She went along with all of his interests, as a supportive wife, holding our family together as we moved to the glass house and built the gardens. She kept defending or excusing his behavior for years. After she almost died, she started questioning his behavior, and stopped denying to herself how bad it was. But she had no idea how she could leave. It took going back to school, getting a degree and a job, before she made her plan to leave, two weeks after I left home. BW: Do you feel fortunate to have been initiated in your father's passion for the modern? Or do you feel resentful that it was all too much? EWG: Since ancient times, many masters have trained their children from an early age in their profession. I think of the lineage of the Wyeths, schooled in painting. Chinese acupuncturists often trained their children to be practitioners. Many masters were tyrants with painful lives. After the journey of my life and after all the healing work I have done to recover from my childhood, I still feel fortunate that I was not only schooled in modern architecture but that I learned from my father's vast enthusiasm and passionate creativity. Baron Wormser is the author of sixteen books, including the novel Tom o' Vietnam. He was poet laureate of the state of Maine (2000–2005) and received fellowships from the National Endowment for the Arts and the John Simon Guggenheim Memorial Foundation. He recent book of essays, Legends of the Slow Explosion: 11 Modern Lives, explores modernism from poets' sensibilities.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 19 Apr 2018 02:00 AM PDT  © Bas Princen. Courtesy Fondazione Prada
 © Bas Princen. Courtesy Fondazione Prada Text description provided by the architects. The 60-meters high Torre is realized in exposed white concrete. The new building further develops the repertoire of different exhibition conditions that together define the architectural vision of the foundation, characterized by a variety of oppositions and fragments.  © Delfino Sisto Legnani and Marco Cappelletti. Courtesy Fondazione Prada Each of the nine floors of Torre offers an original perception of the internal enviroments thanks to a specific combination of three spatial parameters: plan dimension, clear height and orientation. Half of the levels is in fact developed on a rectangular floor plan, while the other half displays a trapezoid one.  © Bas Princen. Courtesy Fondazione Prada The clear height of the ceilings increases from bottom to top, varying from 2,7 meters on the first floor to 8 metres on the top level. The external façades are characterized by an alternation of concrete and glass surfaces, which allows exposure from a northern, eastern or western side on the different floors, whereas the top gallery space is exposed to zenithal light.  © Delfino Sisto Legnani and Marco Cappelletti. Courtesy Fondazione Prada The southern side of Torre presents a diagonal structure connectiong it to the Deposito, and inside which a panoramic elevator is integrated. As stated by Rem Koolhaas, "Together these variations produce a radical diversity within a simple volume – so that the interaction between the spaces and specific events or works of art offers an endless variety of conditions".  © Bas Princen. Courtesy Fondazione Prada Since the opening of Fondazione Prada's new venue in 2015, the collection has become one of the available tools for the development of the foundation's cultural program, taking different configurations – from thematic to collective shows, from anthological exhibitions to artist-curated projects – and now finding in Torre its permanent exhibition space.  © Delfino Sisto Legnani and Marco Cappelletti. Courtesy Fondazione Prada Restaurant "Torre", located on the sixth level of the new building, hosts original furnishing pieces from the "Four Seasons Restaurant" in New York, designed by Philip Johnson in 1958, elements from Carsten Höller's installation The Double Club (2008-2009), three sculptures by Lucio Fontana – two glazed polychrome ceramics Cappa per caminetto (1949) and Pilastro (1947) and a glass paste mosaic and cement Testa di medusa (1948-54) – as well as a selection of paintings by William N. Copley, Jeff Koons, Goshka Macuga and John Wesley. Inspired by the tradition of the Italian restaurant, the walls display artists' plates especially created for the restaurant by John Baldessari, Thomas Demand, Nathalie Djurberg & Hans Berg, Elmgreen & Dragset, Joep Van Lieshout, Goshka Macuga, Mariko Mori, Tobias Rebherger, Andreas Slominski, Francesco Vezzoli and John Wesley.  © Bas Princen. Courtesy Fondazione Prada The rooftop terrace was conceived as a flexible space hosting a bar. It is characterized by a black and white optical floor decoration and by a mirror clad balustrade which creates a reflection effect, capable of visually erasing the barrier between the actual space and the 360° view on the city of Milan.  © Bas Princen. Courtesy Fondazione Prada  This posting includes an audio/video/photo media file: Download Now |
| Dorte Mandrup to Design Her Third UNESCO World Heritage Wadden Sea Project Posted: 19 Apr 2018 01:00 AM PDT  Courtesy of Dorte Mandrup Denmark-based architect Dorte Mandrup has won her third UNESCO World Heritage Center project, with her design of the Trilateral Wadden Sea World Heritage Partnership Centre. The project was the winner in a contest to design a new headquarters for the Centre, an organization that aims to protect the Wadden Sea and is jointly run by Denmark, Germany, and the Netherlands.  Courtesy of Dorte Mandrup The Wadden Sea area was listed as a UNESCO World Heritage Site in 2009 and is the world's largest unbroken system of intertidal sand and mud flats.  Courtesy of Dorte Mandrup "We are excited to have completed the circle of the Wadden Sea projects located in this unique UNESCO-protected landscape. By informing visitors about the important surrounding ecosystem and in creating an engaging architectural space, the aim is to make it an even more unique experience to visit the Wadden Sea," said Mandrup.  Courtesy of Dorte Mandrup Drawing upon a motif of harbor piers that rest in the water, the building is lifted away from the ground and extends upwards with the structure highlighting the horizon lines. The sloping plinth connects to the promenade level of the building and extends down to the waterfront. The open floor plates transition seamlessly between the exterior and the interior space. The building will feature several exhibition spaces, research facilities, offices, a seal center, a restaurant, a café, and a hotel. Visitors will be able to experience 360-degree views of the Wadden Sea, and the landscape in the distance. The project is expected to be completed in 2020. News via: Dorte Mandrup.  This posting includes an audio/video/photo media file: Download Now |
| Meditate In This Mobile Nature-Inspired Pinecone Gazebo Posted: 18 Apr 2018 11:00 PM PDT Designed by Czech designers Atelier SAD and distributed by mmcité1, this mobile, nature-inspired gazebo is a playground must-have for children and adults alike. 109 waterproof, plywood scales are treated with resistant glaze and connected by galvanized joints to create a self-supporting, sustainable structure.  Courtesy of mmcité1 "During the design process, we were aiming to smash boundaries and move forward. The Pinecone project was a big challenge for us because it was more than just a one-dimensional product. Above all, it is a versatile structure which works in parks and schools alike. It is on the cutting edge of architecture and design, and can even serve as a meditation space," said designer and owner of mmcité, David Karásek.  Courtesy of mmcité1  Courtesy of mmcité1  Courtesy of mmcité1 The spacing and fabrication of Pinecone's scales make it a well-ventilated microclimate with ideal acoustics for everything from an outdoor classroom to a meditation space; even create a summer campfire under the open roof. In just a day, this architectural pinecone can be fabricated almost anywhere.  Courtesy of mmcité1  Courtesy of mmcité1 News via: mmcité1.  This posting includes an audio/video/photo media file: Download Now |
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