Arch Daily |
- 1413 House / HARQUITECTES
- Dizzying, Abstract and Meticulous Worlds Created by Artist Benjamin Sack
- City Library Rottenburg / harris + kurrle architekten bda
- Pied à terre Gent / Steven Vandenborre
- Patio House / MM++ architects
- Song Art Museum / Vermilion Zhou Design Group
- Pichai House / Kittiya Architects
- Urban Bloom / AIM Architecture + URBAN MATTERS
- Tama's Tee Home / Luigi Rosselli
- Visitor Center for Seigneurie-des-Aulnaies / Anne Carrier architecture
- ODA Unveils Images of Bamboo-Inspired "Dragon Gate" for New York's Chinatown
- Lake Wilderness Elementary School / TCF Architecture
- 7,500 Barrels To Feature in Christo's First UK Outdoor Public Sculpture
- Mio Building Bonjo III / Estudio Moirë arquitectos
- Architecture's "Dark Products": What Do Architects Claim Ownership of in the Design Process?
- UBC Aquatic Centre / MJMA + Acton Ostry Architects
- This "Human Laser Cutter" Precisely Models Fruits With Amazing Geometric Designs
| Posted: 04 Apr 2018 10:00 PM PDT  © Adrià Goula
 © Adrià Goula Text description provided by the architects. The stone wall that marked out the boundaries of the estate went around the whole site, revealing just the tops of the trees inside. The materiality and the irregularity of the geometry of the wall endowed it with a special character and presence, but the current regulations made it compulsory to extend the width of the street, so preserving the wall was impossible.  © Adrià Goula .jpg?1522813809 "Ground Floor Plan") Ground Floor Plan  © Adrià Goula Without the existing wall, the first and main challenge the project had to face was that of re-contextualizing the plot, building a new house able to offer a coherent, deferent, and honest response to its surroundings. Instead of placing the house in the middle of the garden, the project proposes surrounding it: a house that functions as a fence. A house-wall permits recovering the urban continuity and also experimenting with a new, very elongated type, everything in one level, adapted to the topography and to the new geometry of the street. .jpg?1522814111 "Section 01") Section 01  © Adrià Goula .jpg?1522814347 "Section 02") Section 02 The house follows the material and constructive logics of the original wall-fence, but adapting them to current requirements. It is built entirely with load-bearing walls, reusing the stones from the old wall, mixing them with aggregate from the plot along with limestone and cement. And to this traditional mortar base small insulating particles of recycled expanded glass will be added. Instead of stacking, the wall will be coffered and lifted with a mixed technique between adobe and cyclopean wall. The outer layers facing the street will be chipped to let the stone resurface, while the interior will show the formwork finish.  © Adrià Goula .jpg?1522814559 "Elevations") Elevations The wall’s thickness will vary, and in many cases its depth will allow accommodating the house’s more static spaces, or those that require greater privacy such as bedrooms, bathrooms, laundry area, pantry, closets, toilet... In an almost fractal relationship, the different scales of the project are gradually solved by relating and linking larger and larger spaces until the whole plot is enclosed. This produces a sequence between the more domestic spaces and the ‘wilder,’ more exterior areas.  © Adrià Goula  © Adrià Goula The linear relationships are addressed before the more static program, attached to the wall, creating a long sequence of corridors that absorb solar radiation during winter, and that can be opened entirely as porches connected to the garden. The transition between the different climates in the building evolves constantly throughout the year.  © Adrià Goula  This posting includes an audio/video/photo media file: Download Now |
| Dizzying, Abstract and Meticulous Worlds Created by Artist Benjamin Sack Posted: 04 Apr 2018 09:00 PM PDT  I Am That I Hand. Image © Benjamin Sack Perhaps as a form of "abstract urbanism," artist Benjamin Sack uses pen and paper to build cities and worlds that come to life as he draws. Towers and low-rise buildings merge together to form familiar yet unimaginably intricate cityscapes with complex spatial arrangements, and, in some cases, in human form. This brand of "abstract urbanism" introduces a provocative perspective on urban context and its relation to those who inhabit it. Described on his own Instagram account (@ibensack) as a "Composer of worlds", Sack harnesses a range of geometries to construct his illustrations—all while maintaining a very high level of detail that helps further the intimacy of his work. From harsh, angular arrangements, to soft, billowing curves, each piece of art conveys a sense of place and scale.  Song of the Earth. Image © Benjamin Sack  © Benjamin Sack  Hieroglyph II. Image © Benjamin Sack  Garden in Thought. Image © Benjamin Sack  © Benjamin Sack  HAMSA. Image © Benjamin Sack  Opus of Time. Image © Benjamin Sack  Tango in the Garden of the Mind. Image © Benjamin Sack You can see more of Ben Sack's work on his website here.  This posting includes an audio/video/photo media file: Download Now |
| City Library Rottenburg / harris + kurrle architekten bda Posted: 04 Apr 2018 08:00 PM PDT  © Roland Halbe
 © Roland Halbe Text description provided by the architects. The new town library is built in the town centre, between the medieval town centre and the Episcopal palace, serving on this prominent site as a new public meeting place.  Site Plan The result is a communicative building in the urban fabric. Communication meaning, on this urban-spatial level, that topics of the environment are recorded, interpreted and re-rendered. So something new emerges whose "genetic code" is drawn from the environment. The building form for the city library was developed from the cranked form of the neighbouring buildings. This creates a spatial dialogue. The library is located at the interface of very different scales. The varying eaves heights of the new building - due to the straight pitched roof on the cranked building plan transfers between the grandeur of the Episcopal Palace and lower buildings of the old town.  © Roland Halbe  First Floor Plan  © Roland Halbe The entrance level, with generous reception desk, is about public communication and is characterised by its maximum openness. An open house for the citizens of the city with a cafe that can also be used for events in the evening. The upper floors are available to the public for reading and learning. The extensive walls are largely covered with library shelves. These are interrupted by large windows with deep reveals, which are suitable for sitting and reading. The readers in the windows become visible from the outside, proclaiming the function of the building into the public space.  © Roland Halbe  Section  © Roland Halbe  This posting includes an audio/video/photo media file: Download Now |
| Pied à terre Gent / Steven Vandenborre Posted: 04 Apr 2018 07:00 PM PDT  © Tim van de Velde
 © Tim van de Velde Text description provided by the architects. The building is situated in the backyard of an existing house in the center of Gent. The hidden place is a very interesting and exciting area because it is surrounded by university buildings, old towers, a Cathedral and even the famous 'Boekentoren' of Henry Vandevelde. It is a real secret garden !  © Tim van de Velde  Ground Floor Plan  © Tim van de Velde The owners wanted to build a house with a lot of glass to have a open view on the garden but they also wanted a warm feeling : a cosy family house. the result is the 'cosy glass house'. The architect created a structure with a grid of wooden columns and large glass surfaces. The composition of the vertical and horizontal slabs gives the building a timeless and calm character .  © Tim van de Velde The concrete terrace structure (as an extension of the interior) communicates with the different levels in the old garden and makes the building perfectly integrated in the environment. At night, when all the lights are up, the building is changing into a movie set and could be located in California or los Angeles. The building becomes a light object.  © Tim van de Velde By using different levels and heights, the spaces on the first floor have different characters. The kitchen is conceived as a large multifunctional space. The living room and dining corner, with integrated benches, are situated around the central fire place. The intimate media room is located in a former bunker volume.  © Tim van de Velde The tasteful combination of materials like oak, wooden floors, carpet, tadelakt, cemented recuperated bricks,… gives the interior a warm feeling. The glazed bedrooms and bathrooms are situated on the second floor and are connected with a central closet-room. From these rooms (with the same character as the ground floor) the views on the garden, roof-gardens and environment are even more intense.  © Tim van de Velde The basic construction : because the location of the new volume is surrounded by closed building volumes we could not use a traditional way of building. Lifting all the materials like steel, wood, glass over the high, existing building and putting everything together like a mecanoo on site was the only solution .  Structure All the details like the basic structure, windows, furniture, door handles, sofas,… are carefully designed by Steven Vandenborre architects and gives the project a unique character.  © Tim van de Velde  This posting includes an audio/video/photo media file: Download Now |
| Posted: 04 Apr 2018 05:00 PM PDT  © Hiroyuki Oki
 © Hiroyuki Oki Text description provided by the architects. This house is located in a dense residential area of Ho Chi Minh city where houses are built adjacently. The clients are a young couple with 2 kids. The plot is 13m wide x 19m deep. Taking advantage of the land size, the entire house is organized around an interior patio bringing plenty of natural lighting.  © Hiroyuki Oki The house is oriented to the west, an automated sunshade louver controls the sunlight coming through the large openable sky window of the patio in order to keep the house cool and control the direct sunlight. The ground floor is slightly elevated from the street level to keep the views from dining over the carport while the front wall fence brings total privacy and disconnects the house from the busy street.  © Hiroyuki Oki With the deep overhang roof, direct sunlight doesn't impact the front elevation, totally glazed and openable. Combined with the huge sky window openable, it creates an efficient airflow through each space. On the ground floor, the patio brings enough light for the central planter with a tropical tree, a main focus of the open space to divide the kitchen and dining from the living room. Behind, the master bedroom, with large sliding door windows onto a backyard still benefits of an openness feeling. The bathroom is semi-open air.  Section On the first floor, the patio distributes an open space, 2 bedrooms and a large balcony with a panoramic view of the cityscape. Large sliding door windows allow opening the space at its maximum, even for the bedroom. A way to encourage interaction between family members and visual connections with the front vegetation, the indoor tree. All the way to the design process, the sun path, the tropical climate and the surrounding environment have been considered to bring comfort, easy maintenance and relaxing feeling in the middle of a dense urban environment.  © Hiroyuki Oki  This posting includes an audio/video/photo media file: Download Now |
| Song Art Museum / Vermilion Zhou Design Group Posted: 04 Apr 2018 03:00 PM PDT  © Zhi Xia
 © Zhi Xia Text description provided by the architects. The whole base shaped like Chinese long scroll, we reconsidered the relationship between archi-tecture and courtyards. We selected and arranged almost 199 pine trees to scatter around, taking the art museum as the main building, restoration of ancient buildings and resettlement of ancient archway at two side, these are present owners preference and positioning the museum as an ori-ental style.  © Zhi Xia  Master Plan  © Zhi Xia "Blank-leaving" is the most artistic expression in the art of Chinese painting. The geometrical form is the most objective expression in Western logical thinking. The architecture of the muse-um, where we removed the symbols of the Western to give the purest whiteness, connected toge-ther with new corridor by several different geometric buildings, in order to have new conversation in between; indoor the vertical circulation, giving more dimensions of stretching.  © Zhi Xia The significance of the art museum is to present the art. As a platform for displaying it, our definition of Song Art Museum is an "art container", with art as its mainstay and container as its complement, and in the future it can also easy be duplicated in any other place with it's own langu-age, we intent to give the architecture and space more possibility.  © Zhi Xia  Plan 1F  © Zhi Xia Song Art Museum transforms everything into geometry, purity, like Chinese philosopher Lao Tzu said, "govern without intervention" from the outside to inner. With its clean existence, any kind of contemporary art is welcome to enter, to vitality showing without scruples. The courtyard surrounded by the pine trees, to give the external vitality of Song Art Museum, the scenery becomes the breath of both inside and outside. The oriental sense also becomes the na-tural rhythm of mutual attraction between traditional and modern architecture.  © Zhi Xia  This posting includes an audio/video/photo media file: Download Now |
| Pichai House / Kittiya Architects Posted: 04 Apr 2018 01:00 PM PDT  © Soopakorn Srisakul
 © Soopakorn Srisakul Text description provided by the architects. Pichai House is located in the middle-density residential area of Bueng Kum in Bangkok, a neighborhood of detached houses, small apartment, factory, and undeveloped land. The initial idea is to create a getaway place from the city's potent mix of air pollution, high-temperatures, humidity, and rainy-season flooding, and to live harmoniously in the community.  © Soopakorn Srisakul THE CONCEPT is to create a compacted active core within an extended passive boundary. A set of squared grid, oriented at 45-degree to its border was implied to the master plan, enlarging outdoor space and creating a triangle pocket gardens. Simple geometry, while two squares are joined at the corner creating a primary layout, two identical volumes are vertically connecting by internal stairs and external ramp.  © Soopakorn Srisakul Considering microclimate, the house is raised on pillars to take advantage of natural light and ventilation. Wall and opening arrangement gives it shades and activates the air flow. The interior and landscape planning compliments the overall environment.  © Soopakorn Srisakul  Floor Plan  © Soopakorn Srisakul In consequence, each room has its own lively private garden and shares with neighbors as a lighted-airy enclosure. By its spatiality, orienting architectural system, re-thinking shared a boundary and being responsive to its environment, this house aims to be a retreated living place that activates a lively environment for neighbors.  © Soopakorn Srisakul  This posting includes an audio/video/photo media file: Download Now |
| Urban Bloom / AIM Architecture + URBAN MATTERS Posted: 04 Apr 2018 12:00 PM PDT  © URBAN MATTERS by MINI, CreatAR Images
 © URBAN MATTERS by MINI, CreatAR Images Text description provided by the architects. More and more urban life is a negotiation between where we need to be, and where we want to be. What we have, and how much we don't need. As life increasingly moves toward crowded cities, we are interested in creating a space that caters to enjoyment of that space, on its own merit and terms.  © URBAN MATTERS by MINI, CreatAR Images Urban Bloom is an experiment in urban space and activities taking precedent over a design's intention or infrastructure's needs. The only need here was for freedom, and the intention is joy. Urban Bloom renews, and invigorates, urbanism – in fact, the original location was a parking lot. Transformed into an ideal urban garden, and constructed entirely from artificial means, it is a project for a city that emphasizes people.  © URBAN MATTERS by MINI, CreatAR Images Balloon like shapes hold colorful foliage, and float above the courtyard like the leaves of trees, flooding the space with shadows and shapes. Rich varieties of flowers and vegetation were placed among the modules, and as they bloom and grow, the platform will be transformed into an open, welcoming garden.  © URBAN MATTERS by MINI, CreatAR Images Anfu Road was a perfect street to introduce this concept, as it's a popular street that mixes residential compound with offices, restaurants, shops, and schools. Thirty something slab towers sit neatly next to 3 story lanehouses. This mix of scale is quite unique in shanghai. Anfu Road is proof that you do not need to flatten the old city to create new life, or to generate prosperity to an ever evolving city. But what it didn't have is a park. So why not create a place that cultivates this pleasure and happiness?  © URBAN MATTERS by MINI, CreatAR Images Visitors are encouraged to explore the space and interpret its purpose through their own experiences and needs. In the same way that certain city blocks flow with rivers of people, or flowers grow toward the light, the behavior pattern of each visitor, and the energy of the environment, will intangibly define the space and its character. At the same time, cities are huge producers of waste and trash. We wanted this new space to be low-impact, and interact with natural elements in an artificial way – in short, proving it's possible to make something new from nothing new at all. So much about urbanism is not sustainable – the pace of life, waste, cost. Designed specifically with the concerns of waste and consumption in mind, and every city dweller's desire for more nature, Urban Bloom is entirely sustainable and relies on repurposed and recycled materials as its core. Recyclable wooden pallets are refabricated as a gently undulating landscape where different kinds of common urban scenarios are possible: casual gatherings, mini-lectures, outdoor theater seating, etc.  © URBAN MATTERS by MINI, CreatAR Images Like many things in this city before it, Urban Bloom is an impermanent fixture on the landscape of the city, but serves to remind of the importance of enjoying urban space. It is the physical manifestation of our vision for a new kind of urbanity, one that is man-made and natural, permanent and flexible, rational and intuitive.  This posting includes an audio/video/photo media file: Download Now |
| Tama's Tee Home / Luigi Rosselli Posted: 04 Apr 2018 10:00 AM PDT  © Prue Ruscoe
 © Prue Ruscoe 'Tama' is short for Tamarama: a Sydney beach suburb, famous for its hedonistic surf culture, gradually being gentrified by a population that exchanges stock market tips while running barefoot to the ocean with a surfboard tucked under their arms.  Sketch 01 Geographically characterised by steep escarpments that surround the beach (far narrower than its near neighbours at Bondi and Bronte), the homes that cling to Tamarama's hillsides are a mishmash of ticky-tacky boxes left by the previous generation of beach bunnies, now dwindled by skin carcinomas.  © Prue Ruscoe  Ground Floor Plan  © Prue Ruscoe Tama's Tee Home was constructed on what was solid and reusable from the previous house. Approximately fifty-percent of the previous structure was kept, including the large sandstone retaining wall to the front of the home and the garage beneath. The new concrete 'Tee' structure to the front of the house was designed so that it would rest on the single point of the garage structure below that would bear the weight; this explains the 'unipod' shape to the front façade of the home and the need to provide it with a solid concrete structure.  © Prue Ruscoe Ocean side architecture must be designed and constructed with very weather resistant materials: the salt, humidity and wind are implacable agents of rapid decay. If used properly, concrete is quite resistant to such seaside aggression. Marine grade roofing materials and stainless steel fixings are necessary in this position.  © Prue Ruscoe To adapt to the hillside the house was built over four storeys. Located on level three, the main living area benefits from ocean views to the northeast and a sheltered terrace to the northwest side that is protected from the strong coastal winds.  © Prue Ruscoe Project Architect, Raffaello Rosselli provided his own detailing and material palette interpretation for a refined beach house, embracing natural materials, exposed roof framing and light finishes that are washed by dappled and ever changing light that filters through custom designed shutters.  © Prue Ruscoe  This posting includes an audio/video/photo media file: Download Now |
| Visitor Center for Seigneurie-des-Aulnaies / Anne Carrier architecture Posted: 04 Apr 2018 08:00 AM PDT  © Stéphane Groleau
 © Stéphane Groleau Text description provided by the architects. The concept for the siting and construction of the new visitor center for Seigneurie-des-Aulnaies, a registered Quebec cultural heritage site, is grounded in the characteristic elements of the surrounding landscape: the river, bridges, forest and stone buildings. The architects opted for a Land Art approach, focusing on natural settings and materials. The aim was to make the new building as discreet as possible and showcase the site's most interesting landscape and heritage features.  Masterplan The resulting pavilion takes advantage of the site's slope: the building "melts" into it, minimizing its visual impact on the site and allowing for universal accessibility. Stone is the project's dominant source of inspiration. It is found on the site in every form: as a retaining wall, piled on the riverbank, and hewn for use on the mill's exterior. This natural raw material appears in the new pavilion as a gabion wall. Meanwhile, the building's green roof suggests an exposed stratum of the underlying ground and emphasizes the idea of landscape-focused architecture by blurring all references to buildings. The interior spaces are organized longitudinally, following the roofline.  © Stéphane Groleau  Floor Plan  © Stéphane Groleau As the gateway to the historic Seigneurie site, the new pavilion is used for welcoming visitors and controlling site access, while giving visitors an overview of different ways to explore the site. The first volume, in wood and stone, is used for services, while the second volume, finished in glass, opens on the landscape and provides a "frame" for looking at the mill and its activities. The gap between the two volumes provides a view of the river side of the landscape. On the street side, the gabion wall guides pedestrians toward the entrance, characterized by a picture window and a thin awning attached to the building. The awning provides shelter for guided activities or contemplation; it is also designed to steer the visitor toward the wooden walkway leading to the manor house.  Section + Elevation The project, executed on a very tight budget, reflects a contemporary approach to integrating a new structure into a sensitive location, where the top priorities were to highlight historic architecture and landscape heritage. By minimizing the environmental and visual impact of the pavilion, the architects showed a high degree of sensitivity to the rich natural setting. In addition to the challenge of integration with the surroundings, there was also a need to address the social acceptability of the project – a challenge successfully met thanks to an actively involved client open to new ideas and passionate about the Seigneurie des Aulnaies.  © Stéphane Groleau  This posting includes an audio/video/photo media file: Download Now |
| ODA Unveils Images of Bamboo-Inspired "Dragon Gate" for New York's Chinatown Posted: 04 Apr 2018 07:00 AM PDT  Courtesy of ODA New York ODA New York has released images of its proposed "Dragon Gate" pavilion for New York's Chinatown, seeking to act as a symbolic gateway to the famous Manhattan neighborhood. Using modern materials and forms to invoke symbols of traditional Chinese culture, the scheme seeks to capture Chinatown's remarkable duality: a community of tradition resistant to change, yet one regarded as a uniquely contemporary phenomenon showcasing New York's inclusive diversity. Situated on a triangular traffic island at the intersection of Canal, Baxter, and Walker Streets, ODA's scheme seeks to activate a currently-underused pedestrian space. The Dragon Gate consists of a triangular form adhering to a three-dimensional, gridded structure formed from interwoven, tubular, bronze steel inspired by bamboo scaffolding. As the structure densifies, selected pieces will be painted red to create the illusion of a dragon in mid-flight.  Courtesy of ODA New York The scheme seeks to respond to its urban context by facilitating a series of pedestrian nodes and connections through the site. As a two-way standard gate would fail to accommodate the site's multi-directional pedestrian flow, a series of arches has been created to permit several access points, all feeding towards a central gathering area. Infusing a green aspect to the existing gritty surroundings, climbing plants will creep upwards along the steel structure from the pavilion's base.  Courtesy of ODA New York More than a strategic urban intervention, The Dragon Gate seeks to evoke a deeper, more significant relationship with Chinese culture. The structure's association with bamboo references the material's cultural significance: a sign of longevity, vitality, virtue, and luck. Where the structure densifies at the heart of the structure, strategically-placed red paint creates the impression of a dragon in mid-flight, evoking the famous Chinese symbol of strength and good fortune. Meanwhile, The Dragon Gate's ascending curves echo the upturned eaves of traditional Chinese roofs, while its arches recall the ancient fortified city walls found throughout China.  Courtesy of ODA New York Beyond a practical intervention on an ignored pedestrian island, The Dragon Gate is a celebration of diversity, and a message of support for a longstanding community of immigrants at a time of rising nationalism across the globe. News via: ODA  This posting includes an audio/video/photo media file: Download Now |
| Lake Wilderness Elementary School / TCF Architecture Posted: 04 Apr 2018 06:00 AM PDT  © Pete Eckert
 © Pete Eckert Text description provided by the architects. The Lake Wilderness Elementary School project began as a modernization to an existing campus of aged buildings and portables. The design process brought opportunity to fully transform the campus to provide a new 94,000 SF, two-story building designed for 850 students.  Site plan To strategically allow the former school to remain functional during transition, the new building occupies the site of former playfields. Lake Wilderness now sits toward the rear of the parcel, on an upper plateau of the bi-level site. In plan, its curved circulation spine is joined by four radial wings. This layout tightly knits four facades at the public side, and fans out in the back to invite light and views to the interiors.  © Pete Eckert  Diagram  © Pete Eckert The rising population of the Maple Valley region actively contributes toward the status of Lake Wilderness Elementary as one largest in the State. Future growth is anticipated within the building's floor plan. Ground-level voids offer semi-sheltered outdoor spaces, ready to be infilled as classrooms as the need for incremental growth arises. A robust, five classroom pre-school program is supported by its own conference rooms and satellite offices, essentially making it a "school within a school."  © Pete Eckert The spirit of the project is revealed in its appropriate scale and thoughtful vernacular, which emerged as a response to the residential context and large program size. Courtyards are nestled between simple, efficient "learning neighborhoods". The building employs strong, simple gable forms relating to the adjacent neighborhood. Brick cladding provides in impression of quality and permanence.  © Pete Eckert  Ground floor plan  © Pete Eckert Inside, Lake Wilderness guests, students and staff are greeted by child-like design elements. Playful iconography, acoustic art installations, and strategic blocks of color foster a sense of whimsy. The interior scale of the school is reduced to environments of playfulness, intimacy and wonder.  © Pete Eckert  This posting includes an audio/video/photo media file: Download Now |
| 7,500 Barrels To Feature in Christo's First UK Outdoor Public Sculpture Posted: 04 Apr 2018 05:00 AM PDT _-_The_Mastaba_(Project_for_London__Hyde_Park__Serpentine_Lake)_(1).jpg?1522847854 "Courtesy of Christo") Courtesy of Christo Artist Christo has released images of his proposed temporary sculpture for Hyde Park, London, to become his first major outdoor public sculpture in the United Kingdom. Titled "The Mastaba (Project for London, Hyde Park, Serpentine Lake)," the sculpture will consist of 7,506 horizontally-stacked barrels floating on the Serpentine Lake throughout the summer of 2018. "The Mastaba" will coincide with an exhibition of Christo and Jeanne-Claude's work at the Serpentine Galleries, featuring sculptures, drawings, collages and photographs spanning more than 60 years. Supported by Bloomberg Philanthropies, the exhibition will be the artists' first in a UK public institution since 1979 and will showcase their long-running exploits with barrel forms, chosen initially for their sculptural effect and low cost. _-_The_Mastaba_(Project_for_London__Hyde_Park__Serpentine_Lake).jpg?1522848242 "Courtesy of Christo") Courtesy of Christo Throughout the next three months, "The Mastaba" will be built to a height of 65 feet (20 meters) by a team of engineers. The barrels will be specifically fabricated and painted for the sculpture, a blend of red, white, blue and mauve. The sculpture will sit on a floating platform made of high-density polyethylene cubes held with weighted anchors, with a steel scaffolding frame giving the sculpture rigidity. The construction process will see no work undertaken on grassed areas, and protection given to the Serpentine walkway, to ensure minimal impact on the site. Following the end of the exhibition, a majority of the materials comprising the sculpture will be removed and industrially recycled in the UK. _-_The_Mastaba_(Project_for_London__Hyde_Park__Serpentine_Lake)_(4).jpg?1522848063 "Courtesy of Christo") Courtesy of Christo
_-_The_Mastaba_(Project_for_London__Hyde_Park__Serpentine_Lake)_(2).jpg?1522847929 "Courtesy of Christo") Courtesy of Christo "The Mastaba" has been supported by The Royal Parks, Westminster Council, and BlueBird Boats, but will be funded by Christo, without the use of public money. The sculpture will float on the Serpentine Lake from 18th June to 23rd September, with the exhibition opening on 19th June, and running to 9th September. _-_The_Mastaba_(Project_for_London__Hyde_Park__Serpentine_Lake)_(3).jpg?1522848020 "Courtesy of Christo") Courtesy of Christo News via: Christo
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| Mio Building Bonjo III / Estudio Moirë arquitectos Posted: 04 Apr 2018 04:00 AM PDT .jpg?1516137705 "© Ramiro Sosa") © Ramiro Sosa
.jpg?1516138593 "© Ramiro Sosa") © Ramiro Sosa Text description provided by the architects. This building is located in a historical neighborhood of the city of Mar del Plata, which is conformed mostly by typical houses from the first half of the twentieth century. .jpg?1516137787 "© Ramiro Sosa") © Ramiro Sosa This project was conceived with the idea of mixing up all the advantages of living in a modern apartment but at the same time keeping the possibilities that a house can offer. .jpg?1516137862 "© Ramiro Sosa") © Ramiro Sosa The measures of the piece of land allow us to rethink the concept of an urban building, and at the same time save an old tree that has been growing there for decades. .jpg?1516137980 "© Ramiro Sosa") © Ramiro Sosa  Ground floor plan .jpg?1516138773 "© Ramiro Sosa") © Ramiro Sosa The square: .jpg?1516137964 "© Ramiro Sosa") © Ramiro Sosa Apartments = Houses: .jpg?1516138346 "© Ramiro Sosa") © Ramiro Sosa  Section .jpg?1516138416 "© Ramiro Sosa") © Ramiro Sosa Every one of the apartments was meticulously designed. They offer the owners luminous and airy spaces, thank to the floor-to-ceiling windows. .jpg?1516138546 "© Ramiro Sosa") © Ramiro Sosa  This posting includes an audio/video/photo media file: Download Now |
| Architecture's "Dark Products": What Do Architects Claim Ownership of in the Design Process? Posted: 04 Apr 2018 02:30 AM PDT  Courtesy of Curtis Roth Why do we build? How do we build? Who do we ultimately build for? These have been questions that have dominated the worlds of both practice and pedagogy since the early ages of architecture. On a basic level, those questions can be answered almost reflexively, with a formulaic response. But is it time to look beyond just the simple why, how, and who? In a world where the physical processes of architecture are becoming increasingly less important and digital processes proliferate through all phases of architectural ideas and documentation, we should perhaps be looking to understand the ways in which architects work, and examine how we can claim the processes—not just the products—of our labors. Curtis Roth, Associate Professor at the Knowlton School of Architecture, recently published his book Some Dark Products after completing research as a fellow of the Akademie Schloss Solitude in Stuttgart, Germany. His book focuses on the labor of the design process, arguing that "the work of architecture is actually a work of architecture," and how that ultimately causes architecture to appear in the world. "Architects tend to think of authorship as something in the mind, when it is actually a bodily process," according to Roth. "But how do we author the networks of our labor? We stake a claim to the drawing and the final production, but what about the in-between? The BIM process? The spatial products?" His curiosity over this idea began while working for OFFICE US at the 2014 Venice Biennale. Acting as part of a team of researchers to understand the past 100 years of architecture designed by US-based firms, he began to explore the ways in which different offices produced work, especially how they coordinated work abroad. This sparked an interest in what Roth claims are the "dark products" of architecture, or the interstitial digital processes that are often not authored but are required for the successful realization of a building. Below are examples taken from Roth's book, which describe two "instruments" he used to investigate architecture's dark products. INSTRUMENT I: The Detail Courtesy of Curtis Roth The first instrument explores the strategies of outsourcing labor, a practice frequently used by larger architecture firms. Roth decided to outsource the labor of drawing architectural details to Rason, North Korea to understand the authorship that can be transferred through the internet. In the commissioning of these details, an Ahmedabad-based tech corporation called Silicon Valley Infomedia was provided with 8 AutoCAD .DWG files in which each detail was to be drawn. The CAD files were then transferred to Silvermine Systems, where an anonymous group of North Korean drafters would draw these details that represented a specific type of "designed leaks" (such as weep-holes) in the surface of a building. Each detail was drawn and then watermarked by North Korea's Red Star OS, a state-produced operating system designed to prevent the pirating of Mac operating systems and to track the transfer of K-Pop music across its highly militarized border with South Korea. This system gives each computer its own digital signature, which allowed the authorship of each drawn detail to be encrypted into the file that was sent back to Roth. He then extruded each detail to create a 3D object, and ran it through a motion simulator to produce the following drawings of the fluid motion through the detail, with the detail itself now erased.  Courtesy of Curtis Roth  Courtesy of Curtis Roth  Courtesy of Curtis Roth The result produced renderings "of an absent detail, signed by the watermark of an absent North Korean detailer," ultimately questioning the identity of the author of these drawings; is it that of the laborer seated in North Korea, or Roth, who commissioned the details to be drawn and transformed them into complete images? INSTRUMENT II: The Specification Courtesy of Curtis Roth In his second experiment, "Instrument II: The Specification," Roth explored the relationship of the specifier to the architectural process, specifically the way that the architect's instructions can be understood to produce different results each time a task is done. Can a specification be considered a means of authorship? Or does it lose its sense of authorship because it is simply an interpretation of instructions? Ten images were sent to ten painters in China, who were given a set of instructions which dictated the conditions for the image's reproduction. They were told to hang the image in their studio and paint what they observed, including the studio's context. Once the ten original images were returned, each was mailed to a local competitor of the original artist who was given a second specification, instructing the second painter "to erase all but the studio wall of the first painter." Some of the outcomes of this simple specification can be found below. .jpg?1521494117 "Courtesy of Curtis Roth") Courtesy of Curtis Roth .jpg?1521494139 "Courtesy of Curtis Roth") Courtesy of Curtis Roth The results show a variety of interpretations of the specification that Roth provided to them. Each of the paintings raises the question of "whose intellection caused these spaces to appear?" Was it an intentional misinterpretation of instructions to give what was assumed to be the best product? Or did the painters make an attempt to impose some sort of personal authorship on the painting themselves? Ultimately, each painting represents a disconnect between three authors, Roth, the first painter, and the second. In this case, it is impossible to separate the creative process from the physical labor. This disconnect can also hold true for the way in which architectural specifications are executed. The architect's design may be interpreted by the specifier, and later interpreted in a second way by the laborer performing the work. If this is the case, then who holds the right to claim authorship over the design? Is it the architect who created the design intent, or the laborer who executed it with a creative freedom? These two investigations show that in the design process, there is a disconnect in what architects claim to author. No longer can the profession simply think about the physical drawings and realization of a building as their own, but begin to understand how the processes and steps in between can have a major effect on the outcomes of their design intentions. Read more about Roth's research and understanding of architecture's Dark Products, here.  This posting includes an audio/video/photo media file: Download Now |
| UBC Aquatic Centre / MJMA + Acton Ostry Architects Posted: 04 Apr 2018 02:00 AM PDT  © Ema Peter
 © Ema Peter "How can this new Aquatic Centre effectively train Olympians, serve its community, and enhance the student experience. How can it operate 'learn-to-swim' programs while at the same time run a 1000 person swim meet?"  © Ema Peter In 2012, UBC sent more swimmers to the London Olympic Summer Games than anywhere in Canada and had the most successful swim team in the country. Meanwhile, the explosive market-driven expansion of the Endowment Lands and burgeoning Campus Community has created the fastest growing youth and family population in the Lower Mainland. The new Aquatic Centre is required to meet the needs of both these groups; a high-performance training/competition venue and community aquatic center within a single facility while engaging the Public Realm and contributing to Campus Life and the Student Experience.  © Ema Peter Program  © Ema Peter Configuration  © Ema Peter  Floor Plan  © Ema Peter Sustainability  © Ema Peter Air: Chloromine-contaminated air will be scoured from the water surface by an air flow delivered from a central bench structure, and returned to the upper edge of the perimeter pool gutter. Developed in coordination with on-campus research, this system is intended to provide exceptional natatorium air quality and mitigate the problems of 'swimmer's asthma'.  Section Light: The sectional split brings light deep into the center of the natatorium plan, where it is reflected or diffused to provide required natural lighting condition. A continuous ceramic fritted glazing band on three elevations and sensors for zoned lighting control respond to the level of natural light.  This posting includes an audio/video/photo media file: Download Now |
| This "Human Laser Cutter" Precisely Models Fruits With Amazing Geometric Designs Posted: 04 Apr 2018 01:00 AM PDT  via Instagram user gakugakugakugakugaku1 I happened to be in architecture school when the laser cutter was still a bit of a novelty for the inexperienced students in their first years of study. Sure, it saved you a lot up-close-and-personal-time with the X-Acto knife, but to unlock the true potential of the laser cutter one had to introduce a level of detail into the design or model that would otherwise be a nightmare to create by hand. But here comes Japanese Instagram Fruit and Vegetable Carver gaku carving to make our jaws drop. How?! Why!? And on such an ephemeral canvas?! Who knows. But holy fractal if it isn't a work of geometric perfection. These videos capture levels of patience and precision that many only dream of.
See more of gaku carving's incredible creations on Instagram!  This posting includes an audio/video/photo media file: Download Now |
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