Arch Daily

Bad Schörgau / Pedevilla Architects
Francesca Pasquali Archive / Ciclostile Architettura
Forever House / Wallflower Architecture + Design
House in Tarumi / Tomohiro Hata Architect and Associates
Sattrapirom Meditation Center / Ken Lim Architects
The Second Skin / LUKSTUDIO
180 Creative Camp 2018 in Abrantes, Portugal
Highgate Primary School / iredale pedersen hook architects
Exhibition: Brutal Destruction
CCC House / Mayer & Selders
Henning Larsen Brings Canals and Rooftop Farming to Brussels in Competition-Winning Masterplan
Dogus Technology Center / ERA Architects
Beauty or Tragedy? Aerial Imagery of Spain’s Abandoned Housing Estates Wins DJI Drone Photography Award
House in Hauterive / bauzeit architekten
Call for ArchDaily Interns: Summer 2018
How Architectural Drawing—In All Its Forms—Can Help Us See the World Anew
House In Rua do Paraíso / fala atelier
Brasil Arquitetura Reveals How Building Recovery is About Meeting the Real Demands of Society
São Paulo's Anonymous Architecture Captured by Alberto Simon
These Are The 20 Most Livable Cities in the World in 2018

Posted: 05 Apr 2018 08:00 PM PDT

Architects: Pedevilla Architects
Location: 39058 Sarentino BZ, Italy
Project Year: 2017
Photographs: Gustav Willeit

Structural Consultant: Pfeifer Planung
Acoustics: Müller BBM
Technologies: Studio Delazer, Stuppner-Frasnelli
Client: Bad Schörgau
Total Cubature: 1.800 m³

Text description provided by the architects. The new building is part of the hidden treasure of Bad Schörgau and includes a cooking academy with seminar area and the "Trehs Haus". The cooking academy sees itself as a platform to gain an insight into the local gourmet cuisine. The central element is the almost five-meter-long cooking block, a monolith of gray-green local Sarner porphyry with a gross weight of 22,000 kg.Only the countertop has been burnished, the other surfaces show the original breakage of the stone.

The cooking area is connected to a hall. A spiral staircase leads to the seminar room above. The pattern of the hall is based on the element of the circle. The intersections of the circles result in the special ceiling structure due to their star-shaped three-dimensional formulation. The outer façade has the same geometric basis but without the "stars". The interiors were completely lined with manually limed spruce and hemp.

The Trees "world of fragrances" understands itself as a competence center and includes various care product lines. The products are created on the basis of local traditions, in close connection with the place and people. The showroom extends as an open space over two floors, the basement is filled with laboratory and warehouse. The ornament creates a connection to the local tradition: simple and yet generous, without frills and yet of a simple, quiet decoration.

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Francesca Pasquali Archive / Ciclostile Architettura

Posted: 05 Apr 2018 07:00 PM PDT

Architects: Ciclostile Architettura
Location: Collina di Palesio, Varignana-Palesio BO, Italy
Area: 250.0 m2
Project Year: 2017
Photographs: Fabio Mantovani

Consultants: EN7 srl and Eng. Massimiliano Marchesini
Client: Francesca Pasquali

Text description provided by the architects. A barn from the 1960s turned into a workplace for the artist, an experimental and narrative environment where the light and surrounding hills shape the architecture. The needs of the client have been translated into design gestures, in line with the essence of the building, which is not of particularly architectural quality, but interesting for the spaces that it can hold inside.

Planimetric distribution places on the ground floor all the main rooms and restrooms, in order to completely free up the first floor and dedicate it to a large open space overlooking the landscape, taking advantage of existing heights to get a bright and ventilated space.

Another fundamental element of the project is symmetry. The structural shape of the ground floor is given by a reinforced concrete structure with two rows of pillars marking the plan. In fact, the project started from the pillars to rearrange the rooms and following the needs of the client. The plan has been thus divided into three parts: two wider spaces characterized by a laboratory and a study, and a third dedicated to services that become a filter zone between the two main spaces.

A third fundamental aspect of the project is the relationship with the landscape, which is pursued through a greater visual connection. In fact, this aspect is translated into the transformation of the facades, with the creation of large openings to increase the internal-external relationship in the first-floor space.

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Forever House / Wallflower Architecture + Design

Posted: 05 Apr 2018 05:00 PM PDT

Architects: Wallflower Architecture + Design
Location: Singapore, Singapore
Design Team: Robin Tan, Yong Mien Huei, Sean Zheng & Shirley Tan
Area: 1006.0 m2
Project Year: 2016
Photographs: Marc Tey Photography

Structure: Gabriel Goh, GCE Consulting Engineers
M&E: June, PCA Consulting Engineers
Qs: Jerry Yow, WS Surveyorship Pte Ltd
Landscape: Daniel Sim, Nyee Phoe Flower Garden Pte Ltd
Copywriters: Yong Mien Huei & Cecil Chee

Text description provided by the architects. Our clients wanted to build their dream house; a house that would be their definitive family home. It had to have an urban presence while having an open yet secure exterior space with sufficient privacy from the street. With a no expense to be spared mandate, the architect was given a large wish-list that included a 6-car garage and a 25m long pool.

The elevated plot sits 4m above the street level and is surrounded by dense residential development. The eventual solution comes from a reconciliation of inherent constraints with opportunities embedded within the site and program. A visually heavy base platform is expressed by slate-covered terraced planters. Two distinct cantilevered volumes form the visible massing and embracing wings of the house which are pushed to the urban set-back limits of the site.

The separated volumes are connected by a central circulation core. A three-sided courtyard is formed from the residual space between the volumes. A glass lift and see-through staircase that winds around the transparent shaft vertically connect the various programmatic elements. The exterior facade is cladded in beige & silver travertine and contrasted with black basalt stone. Horizontal aluminum fins provide sun shading and provide a modicum of privacy from the street and the adjacent properties.

The experience on entry into the subterraneous garage is private and cocooned from the exterior. The stone and materials within the garage are cave-like but the procession to the main entrance further in reveals textural changes in the architectural finishes, revealing smooth honed travertine walls and floors. The entrance foyer leads to a walk-in wine cellar and a large entertainment cum games room. Naturally, the entrance also leads one upwards to the next level, and the views expand outwards and upwards but are focused on the single Frangipani tree floating in the central courtyard.

A vital role of this floating planter in the middle of the swimming pool is that also allows daylight and natural ventilation to the basement garage below. The main living and dining areas are on this first story level. Below are the garage and the entertainment den, where family and friends come together. The second story houses all the bedrooms and a private study. The top floor has an accessible roof deck and garden, providing a boundless, alfresco space that overlooks the surrounding neighborhood and has views of the city in the distance.

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House in Tarumi / Tomohiro Hata Architect and Associates

Posted: 05 Apr 2018 03:00 PM PDT

Architects: Tomohiro Hata Architect and Associates
Location: Kobe, Japan
Lead Architect: Tomohiro Hata
Area: 119.15 m2
Project Year: 2017
Photographs: Toshiyuki Yano

Text description provided by the architects. The site is located in a typically developed area along the slopes of Kobe. The slope was scraped off, but the terrain still shows that character.Since the geographical condition has decided factors like wind direction, abundant sunlight, and vegetation, we thought it is important to conceive an architecture that receives and enjoys the natural environment such as daylighting and ventilation, and also give good effect to the ambience by making it a space composition close to the terrain.

Moreover, we thought about how human beings will inhabit this architecture; which restores the environment with the slope including the surroundings. Hence, we aimed at a space where the client could literally "live on the slope", where the inside harmoniously continues with the outside, while moving back and forth between the two.

In order to make these two elements compatible, we were faced with the issue of how to freely arrange the space across the floor, how to arbitrate the shift of the upper and lower floor.

We decided to lay down walls laminated with arches that successfully organizes the plan of shifting the structure between the upper and lower level, by receiving the force from above in a pyramidal shape.

Accordingly, the space composition changes from the front to the back, by connecting the walls like a Romanesque façade. This makes the architecture not resist the dynamics, but allow free space stacking.

Through the conception and practice of this architecture, we hope to show an example of a way to adopt the terrain with slopes and to embody the richness of living in slopes obediently.

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Sattrapirom Meditation Center / Ken Lim Architects

Posted: 05 Apr 2018 01:00 PM PDT

Architects: Ken Lim Architects
Location: Klang, Rayong, Thailand
Client : Phraratrattanasophon Mongkhonmanee
Area: 1000.0 m2
Project Year: 2017
Photographs: Xaroj Photographic Atelier

Text description provided by the architects. Sattrapirom Meditation Center is located in the grove among the rubber plantation and the orchards in Amphoe Klaeng, Rayong. Erected for Vipassana Meditation, the place of practice for the villagers and the monks. This place is also designed to engage Buddhist activities and multi-purpose use for the community.

IMPERMANENCE = EMPTINESS = AUTHENTIC

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The Second Skin / LUKSTUDIO

Posted: 05 Apr 2018 12:00 PM PDT

Interiors Designers: LUKSTUDIO
Location: 18 Tai Koo Shing Rd, Quarry Bay, Hong Kong
Design Director: Christina Luk
Design Team: Alba Beroiz Blazquez, Jinhong Cai, Sarah Wang, Yiren Ding, and Mamo He
Area: 73.0 m2
Project Year: 2017
Photographs: Grischa Rueschendorf

Millwork Manufacturer: Shenzhen G&K Development Company Limited
Site Work And Installation: WCPHK

Text description provided by the architects. Regina Miracle is a lingerie brand that prides itself on its innovative and technological approach to design and manufacture of underwear and sportswear. Commissioned to revamp its store identity, Lukstudio draws inspiration from the seamless and lightweight lingerie and translates the idea of "a smooth second skin" into a physical space.

Located at the City Plaza Mall in Hong Kong, The 73-sqm site is a rectangular box with a column at the storefront. The straight edges are firstly softened into curves and the original central obstacle is hidden inside a stack of circular tiers, smoothing the two points of entry.

All surfaces are then finished with wood veneer panels and light oak flooring. The warm base tone not only ensures a cozy atmosphere, but also creates an overall organic "body". Layers of white perforated mesh wrap around the curvaceous volumes: at times cover, overlap or reveal, almost as if they are pieces of delicate garments having a playful dialogue with the wooden body. The interaction results in an inviting storefront and a fluid flow between display zones.

On the right, a curved mesh leads customers through a featured product zone, displaying the selected seasonal specials and their corresponding information at the tablets below. Another two pieces of mesh surround the central tiers and shape a display area behind specifically for sports apparels.

On the left of the store, an array of display mannequins forms a spectacular gallery with the brand's signature collection. With a mirror strategically installed at the back of the store, this subtly curved sequence appears to extend indefinitely as one walks in. Each mannequin is the focal point within a display column that organizes a thorough exhibition of a product. Details are demonstrated by rotating mannequins; the wooden tray displays matching panties and the double-decker mesh drawers underneath store other colors and textiles available for the displayed model.

At the back of the store, the sinuous wooden form embodies all the back of house spaces, and split into different tiers at times for more display possibilities.

Given the challenge to confront a retail typology that is commonly cluttered and repetitive, Lukstudio returns to the products themselves, deciphers the inherent qualities and formulate their spatial translations. The tailored environment not only enriches the lingerie shopping experience, but also conveys the brand ideals on innovation, lightness and comfort to their modern clientele.

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180 Creative Camp 2018 in Abrantes, Portugal

Posted: 05 Apr 2018 11:00 AM PDT

This year Canal180 will host the 180 Creative Camp for the 7th time. An 8-day creative boot camp happening in Abrantes, Portugal, from 1st to 8th July. We provide time and place for young creators and invited artists to learn from each other, exchange experiences and create new projects together.

We invite creators of all disciplines including design, architecture, art, music, video, photography, illustration and installation. Whether it's improving your analog photography skills with Negative Feedback, consulting your portfolios with Jordy Van Den Nieuwendijk and Elise by Olsen, or creating a graphic intervention with The Royal Studio for the locals — everyone is encouraged to get creative and put some ideas in practice during the week!

THE LINE UP

The 180 Creative Camp will give the participants a chance to work with the most interesting names. Jordy Van Den Nieuwendijk, a Dutch illustrator and painter, known for his whimsically colorful works which are instantly recognizable. He is one of the most sought-out and productive artists of today. Gained popularity in 2009 and has hardly stopped working since.

From London, George Muncey, the curator and creator of the Negative Feedback, a quarterly magazine and weekly videos celebrating contemporary photography, giving a new insight and outlook on the current state of analog photography. We will dive into the vibrant world of managed chaos with the Portuguese Royal Studio who are turning the contemporary graphic design on its head elevating it beyond the realms of trendy. You will also have a chance to meet "the world's youngest editor-in-chief," Elise by Olsen. Last but not least, we'll enjoy one of the beautiful Portuguese evenings during the concert of Luis Severo.

8 DAYS OF CREATIVITY

This is just a taste of all the incredible workshops and meetings that will happen in Abrantes, Portugal. We'll have a series of workshops, conferences and projects developed under the name of ACADEMY. We'll work with and for the locals making public interventions and content productions in the FACTORY. But 180 Creative Camp is also a lot of fun, so we are bringing concerts, live cinema, exhibitions and public activities in the FESTIVAL. More names will be announced soon, so follow us on Instagram and Facebook.

Since 2012, people from all over the world, from Los Angeles to Copenhagen, Santiago de Chile to Berlin, have come to 180 Creative Camp showing their best. We are taking on the challenge to outdo ourselves yet again!

For further information please download our special document with FAQ's. If you still have doubts about something you can also drop us a line at info@180.camp. Subscribe to our Newsletter for exclusive content and follow us on Facebook and Instagram for regular updates.

About Canal180

Canal180 is the first Portuguese Open Source TV channel entirely dedicated to culture, arts and creativity. Following the ever-changing artistic agenda, the channel broadcasts innovative content, created by a new generation of artists. Canal180 also exclusively produces and curates projects from around the world.

Combining internet and TV in the same platform, Canal180 is targeted to a growing audience that can finally watch original content on art and culture at easy access. An award-winning TV channel based in Portugal, Canal180 aims to broadcast worldwide via cable television operators. If you're interested in broadcasting Canal180 in your country please contact canal180@ostv.pt

About 180 Creative Camp

180 Creative Camp is an extension of Canal180's brand and it can be defined as one of the most important events regarding creativity and communication, on a global scale. It's a week dedicated to arts and creativity, with a diverse group of creators from many artistic areas. During a week, many artistic fields are explored through talks, workshops and debates with some national and international icons coming from areas such as cinema, music, architecture, urban art, design, etc.

Title: 180 Creative Camp 2018 in Abrantes, Portugal
Type: Workshop
Website: www.eventbrite.pt/e/bilhetes-180-creative-camp-2018-36824028661
Organizers: Canal180
From: July 01, 2018 12:00 AM
Until: July 08, 2018 12:00 AM
Address: Abrantes, Portugal

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Highgate Primary School / iredale pedersen hook architects

Posted: 05 Apr 2018 10:00 AM PDT

Courtesy of iredale pedersen hook architects

Architects: iredale pedersen hook architects
Location: Australia
Project Team: Adrian Iredale, Finn Pedersen, Martyn Hook, Mary McAree, Rebecca Angus, Tom See Hoo, Rebecca Hawkett, Fred Chan, Craig Nener, Thomas Forbes, Nikki Ross, Leo Showell
Area: 1082.0 m2
Project Year: 2017

Builder: Broad Constructions
Civil And Structural Engineers: Prichard Francis
Cost Consultant: Ralph Beattie Bosworth
Electrical Consultant: BEST Consultants
Hydraulic Consultant: Wood and Grieve Engineers
Mechanical Consultant: Stevens McGann Willcock & Copping
Building Surveyor: Milestone Certifiers
Heritage Consultant: Hocking Heritage Studio
Landscape Consultant: 4 Landscape Studio
Art Coordinator: Maggie Baxter
Artist: Paul Caporn
Acoustic Consultant: Gabriels Enviromental Design
Covered Outdoor Area: 730 m2
Site Area: 2100 m2

Text description provided by the architects. The new Highgate Primary School Teaching Classrooms immerse the students in a creative environment that is anchored into the surrounding context, creating new relationships and ways of seeing their environment. The building offers a variety of scales of experience from distant views to intimate classroom experiences. Light, color and pattern are developed as an educational tool extending the classroom curriculum into the built environment. The building is a microcosm of the city responding to the diverse and multi-cultural students, allowing occupants to find a place and space of preference. The school site is on the state heritage list. Iph architects initiated a whole of site school study to determine the location that would minimize impact to heritage buildings, recreation area, and vistas. We created a strong urban gesture bringing the school to the street corner and redefining how one enters the school.

The corner tower is at the fulcrum of the intersection of the city, religious, industrial and tree towers and responds to this intersection with both tower and large urban window. The classroom activities now form part of the street experience and vice-versa. A vista to the city is maintained from Lincoln Street allowing breathing room to the adjacent heritage building. An activated edge via the double accessed stair forms a new elevated vista to the city and heritage building. Materials and forms reference the heritage buildings without imitation and constraint. A podium of stepping natural limestone, a blend of four red bricks, a small band of white painted render and a roof of galvanized steel fold and pitch in continuous dialogue. A strange intervention of backlit polycarbonate responds to the backlit stained glass windows of adjacent small-scale residences, a figure that changes between day and night.

The design adheres to the Departments standard pattern classroom plans. The section is precisely extruded responding to the street and site context but also providing entry towers to classrooms and greater height in the classroom. The extruded and perforated section creates multiple dialogues between the upper and lower levels allowing younger students to see their next place of progression through school years. Time is mapped in the north facing urban corners, three bands of bright color capture the winter solstice in the morning, midday and afternoon. A circular ceiling motif in the outdoor teaching space includes a north aligned light. A circular entry pattern and purple line on the wall and floor mark the beginning and end of the school year.

Colors were developed as an educational tool relating to the first occupants, the six Whadjuk seasons. Each of the six seasons represents and explains the seasonal changes we see annually. The response from the community and school has been overwhelming with parents eagerly waiting and hoping their children will occupy these spaces. The teachers have embraced the spaces finding multiple ways of inhabiting them. It was built for less than the standard pattern primary school project, demonstrating that diversity, individuality, and complexity of experience can be achieved within reduced budget parameters.

Sustainable Design
This design is unique in its approach to teaching sustainability to occupants through the built environment. An awareness of the environment is created through the mapping and capturing of direct sunlight, the winter solstice, the beginning and end of the school year, the direction of north, the use of natural materials, a halo of light that filters from above to deep in to the lower level, the trees that grow with the children, materials that endure and weather deliciously with time and the educational use of colour that tells stories of the Nyoongar six seasons.

These are all possibilities that have been enthusiastically embraced by the occupants. Naturally, we have the other expected systems; night purging, photovoltaic cells with visible monitors, minimization of artificial lighting through natural lighting, generous undercover outdoor learning spaces, use of low voc. and white paint to illuminate spaces and durable, low embodied materials.

Lighting
Highgate Primary School demonstrates the capacity to work with restricted budgets and create educational and inspirational learning environments with both natural light and artificial lighting. Natural light Is documented on walls as an educational tool, including the start and end of the year. Natural light filters from the sky through the growing native trees creating an abstracted halo of light. At night the mass of the building and brickwork is transformed into a light and delicate experience, subtle brickwork patterning and texture is revealed. A north point is formed in a circular meeting space, a corner tower glows gold, combining educational wealth to the commercial wealth of the city towers and the religious wealth of the nearby Sacred Heart Catholic Church and a strange backlit polycarbonate object forms a stage in the undercover play space and angels like figure to the street and surrounding houses.

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Exhibition: Brutal Destruction

Posted: 05 Apr 2018 09:00 AM PDT

Robin Hood Gardens, UK. Image © Oliver Wainwright

Modernity certainly does not have to be characterized by ugliness, but we may well have to make some revisions in our standards of beauty.
— Edward J. Logue

pinkcomma gallery is proud to present Brutal Destruction, photographs of concrete architecture at the moment of its demise. The exhibit is curated by Chris Grimley of the architecture office over,under. The exhibit opens 12 April, 2018 from 6–9 p.m., and the will be on display through May 03, 2018.

Third Church of Christ, Washington, DC. Image © Rey Lopez

"Monstrosity" appears to be a favorite word for those who wish to bully and belittle architecture into obscurity and, in the more alarming cases, onto a demolition list. We need not look hard to remind ourselves that the term has been used by previous generations to describe Victorian architecture, French Second Empire buildings, and many other styles seen as outmoded within a half-generation of their heyday. Our contempt for the destruction that followed should give us pause in today's rush to judge the concrete buildings of the mid-twentieth century as unsightly or alien.

Prentice Women's Hospital, Chicago, IL. Image © David Schalliol

Curated by Chris Grimley of over,under, Brutal Destruction features a collection of photographs by Matthew Carbone, Harlan Erskine, Jason Hood, Rey Lopez, David Schalliol, David Torke, and Oliver Wainwright. These haunting images of buildings in the process of destruction show an architecture once praised, yet now at its most vulnerable a half-century or so after its completion, and vilified to the point of demolition. Suspended between life and death, these buildings remind us of the power that architecture can possess upon its inception, but also of the forces that conspire against it once it is judged to have become old, out-of-shape, obsolete, or ugly.

Mechanic Theatre, Baltimore, MD. Image © Matthew Carbone

If there is a lesson in seeing concrete masterworks disfigured and demolished, we do not believe it lies in exposing or punishing the hubris of the generation that created them. Rather, the current wave of destruction says more about our own pessimism, the weakness of our potential building legacy, and our lack of patience in finding ways to supersede the cycle of ugliness and make these monstrosities our own.

Orange County Government Center, Goshen, NY. Image © Harlan Erskine

Brutal Destruction is part of the ongoing Heroic Project, which also includes the book Heroic: Concrete Architecture and the New Boston (The Monacelli Press, 2015), and the Brutalist Boston Map (Blue Crow Media, 2017).

Credits
pinkcomma gallery: Chris Grimley, Michael Kubo, and Mark Pasnik
Curatorial Assistant: Shannon McLean
Exhibit Assistant: Anna Driscoll

Title: Exhibition: Brutal Destruction
Type: Exhibition
Organizers: pinkcomma gallery
From: April 12, 2018 06:00 PM
Until: May 03, 2018 05:00 PM
Venue: pinkcommagallery
Address: 46 Waltham Street, Courtyard One, Boston, MA 02118

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CCC House / Mayer & Selders

Posted: 05 Apr 2018 08:00 AM PDT

Architects: Mayer & Selders
Location: Caniço, Portugal
Architect In Charge: Dirk Mayer
Area: 180.0 m2
Project Year: 2017
Photographs: Dirk Mayer

Collaborators: Susanne Selders, Elizabeth Nobrega

Text description provided by the architects. Renovation and extension of an existing typical madeiran house. Although this piece of land is close to the city center of Caniço, it is only accessed by a pedestrian walkway and the immediate surroundings are typical of the rural landscape of Madeira Island. In a first phase, the existing house was renovated, maintaining the outside the same but transforming the inside into one open space for living and cooking, with a small home office space, a bathroom and a bedroom on the top floor. From here, a terrace and the green roof of the second phase is accessible.

An exterior bathroom and storage space form the transition to the new part, which was built almost 2 years later. This second phase serves as a separate unit for other family members and is mainly designed around a custom-made IT-working table, where all cables go through the foot of the table to the server room. An open snack and drink kitchen is located behind the table but not yet built.

The lounge with it’s U-shaped seating area is two steps lower and higher at the same time and also equipped with all hidden connections to the middle table for home cinema, sound, and data connection. The corner window opens to the garden and gives a beautiful view through the valley onto the Atlantic Ocean and the Desertas islands.

The bedroom of this unit has a private bathroom and access to a small patio in the back, formed by the old, the new and a storage space/workshop. In the front, the two buildings are connected by a long covered outside seating area with a small external kitchen and stone benches on the side. The large but shallow water tank in the north will be maintained and transformed into a chemical-free “swimming-pond”. To contrast the existing traditional house, the extension is built in a steel structure with light steel framing and is covered in thermo-wood pine profiles.

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Henning Larsen Brings Canals and Rooftop Farming to Brussels in Competition-Winning Masterplan

Posted: 05 Apr 2018 07:00 AM PDT

Danish firm Henning Larsen has released images of their competition-winning Key West urban development, seeking to revitalize a socio-economically challenged area of the Belgian capital Brussels. Developed in collaboration with A2RC Architects, the masterplan aims to balance urban and recreational life along the Brussels Canal Zone through a combination of housing, schools, urban farming, and a market hall.

Like many European cities, Brussels is moving towards a post-industrial economy, giving new opportunities to old industrial areas such as the Canal Zone. The Henning Larsen redevelopment seeks to remodel the area as an urban center, tying the urban areas west of the canal to central Brussels.

We were inspired by the Government of Brussels' ambitions to tap into the spirit of the old industrial area by introducing 'second generation industries' - local production facilities such as e.g. microbreweries, a cookie factory, coffee roasting facilities. As architects involved in urban planning one of our most distinguished tasks is to create the physical framework for an area like Key West to regain economic growth and community cohesion.
-Jacob Kurek, Partner, Henning Larsen

The scheme will see the extension of Brussels' existing canal system through a new basin, making waterfront living more accessible to the 500,000 square feet (46,000 square meters) of new living accommodation. In an effort to improve water quality in the canal, rainwater collection and improvements to a local biotope will be undertaken, creating opportunities for water-based activities such as kayaking.

From Copenhagen Harbor we know how waterfronts are very powerful attractors when it comes to creating public life in a city. It gives an immense quality of life to feel a connection to nature in a city center. When you give people attractive places to meet a sense community is naturally strengthened.
-Jacob Kurek, Partner, Henning Larsen

The program for the new buildings sees ground floor space dedicated to public and retail functions to enhance street activity, while a large town square adjacent to the canal forms a central public space. Throughout the scheme, courtyards and rooftop urban farms will offer spaces for relaxation, while the new central square offers space for selling final produce, tying a loop from earth to table. The residential space for Key West is to be located above the public functions, offering a variety of studio and apartment sizes, as well as a co-housing option for shared living.

Key West is expected to be completed by the end of 2022.

News via: Henning Larsen

Gothenburg to Realise Henning Larsen's Mixed-Use Urban District

Like many European urban districts, the Swedish city of Gothenburg is in the process of transforming old industrial areas along its waterfront into mixed-use public realms. Against the backdrop of urban regeneration in Gothenburg, Danish firm Henning Larsen has unveiled a masterplan for the Lindholmen urban district, which following its completion in 2025, will offer a diverse environment for engagement between students, entrepreneurs, and public citizens.

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Dogus Technology Center / ERA Architects

Posted: 05 Apr 2018 06:00 AM PDT

Architects: ERA Architects
Location: Istanbul, Turkey
Principle Design: Ali Hiziroglu, Cigdem Duman
Design Team: Murat Bozdogan, Gulizar Kemer, Deniz Akkoca, Melis Uysal, Hande Sayi
Area: 15000.0 m2
Project Year: 2014
Photographs: Cemal Emden

Text description provided by the architects. The site of Dogus Technology Centre is on the brink of Istanbul neighboring next to the Istanbul-Ankara highway. The area is valuable especially for big warehouses and manufacturing plants with the ease of access and relatively cheap land prices. Within the last decade the sites in this area started to be allocated not only for blue-collar but also for the white-collar employees of the companies.

Dogus Technology Centre is an example to such buildings where it is placed next to the Dogus Automotive's customs site. The 15.000sqm building designed for the computer and electronic engineers who develop software for the group companies. The three-floor reinforced concrete structure is kept as a simple rectangular prism and covered with transparent glass in contrast to existing surrounding blocks with blank masses.

While the uninterrupted visual connection towards the wide horizon allows users with a consistent modulation, the façade itself becomes a colorful and dynamic screen of contemplation from outside. Social spaces are scattered within this compact building to trigger and propagate the interaction between users allowing a more pleasant working environment in a context of warehouses.

The project is composed of open office areas and meeting spaces distributed to three levels. Social areas such as a café located on ground level and a open buffet restaurant on the third level both with indoor and outdoor terraces as well as a small sport center, data center and storage spaces located underground complete the overall spatial organization of the project. The building's underground spaces are divided into two specific areas: areas connected to upper parts of the building and the customs area of automobile storage. The part adjacent to the customs zone is only accessible from this area.

The outdoor was conceived as simple open terraces and as a garden having a continuous relationship between interiors and exteriors through the transparent facades. The user is actually welcomed by three planes: The main glazed façade, the reflection pond and the sky. The atrium creates a surprise for users on the path towards inside the building. As part of a common gathering space, people are invited to the upper levels through the suspended staircase.

The special pendant lighting feature within the atrium is designed as an anamorphous formation inspired by the logo of client, Dogus Teknoloji. Thus, it creates various combinations of light compositions according the position of the viewer within and outside the atrium.

The building has a significant contrast of working atmosphere compared to other departments of the mother company within the same site by use of well-proportioned transparent façade. Sequence of spaces and daylight/artificial lighting strategy from inside out, day to night, allow the IT employees to work and collaborate within a higher quality environment comparing to most of the other IT offices in the country. The presence of this new building created also a great impact on the other employees of the company as it added value to the company's visionary image.

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Beauty or Tragedy? Aerial Imagery of Spain’s Abandoned Housing Estates Wins DJI Drone Photography Award

Posted: 05 Apr 2018 05:00 AM PDT

"Sand Castles (part II)" by Markel Redondo. Image Courtesy of Markel Redondo

The winners of the DJI Drone Photography Award have been announced, a competition calling for ideas to make creative use of drone photography, and to explore subject matters impossible to experience on foot. This year, the two winning projects consisted of a new perspective on Spain's 3.4 million abandoned houses, and the documentation of salt production across Europe.

The first winning entry, titled "Sand Castles (part II)" was produced by documentary, travel and portrait photographer Markel Redondo, and focused on Spain's 3.4 million deserted houses. Built in a frenzy by developers to exploit cheap loans, the houses now stand empty following the collapse of Spain's real estate sector in 2007.

There is an apocalyptic feel to the developments, it is as if you are the last inhabitant in the world…we live in a society with huge housing issues, where many cannot afford a place to live, yet Spain has more than three million empty homes.
-Markel Redondo

Having first documented the abandoned developments in 2010, Redondo returned in 2018 to spend 15 days in southern Spain, capturing drone footage of 12 developments in an attempt to highlight Spain's housing problem from a new perspective.

"The Salt Series" by Tom Hegen. Image Courtesy of Tom Hegan

The award's second recipient, Tom Hegan, documented the process of salt production across Europe in his entry titled "The Salt Series." Hegen's drone flew above some of Europe's largest salt production sites to reveal an intricate process that many take for granted. By documenting artificially-created salt ponds, Hegen's aerial photography captures instances where nature is channeled, regulated, and controlled.

The production of sea salt is one of the oldest forms of human intervention in natural spaces but we rarely ask where it actually comes from and how it is being produced.
-Tom Hegen

The DJI-run competition was supported by the British Journal of Photography. The winning projects, Sand Castles (part II) and The Salt Series, will be exhibited at theprintspace gallery in East London between 6th April to 18th April 2018.

News via: British Journal of Photography

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House in Hauterive / bauzeit architekten

Posted: 05 Apr 2018 04:00 AM PDT

Architects: bauzeit architekten
Location: Hauterive, Switzerland
Area: 638.0 m2
Project Year: 2016
Photographs: Yves André

Text description provided by the architects. Located near the village of Hauterive and overlooking the lake of Neuchâtel, a new construction was built over the basement of a pre-existing building. The apparent volume of the old building was completely demolished and the premises in the basement reorganized.

The new construction on the upper level takes exactly the outer perimeter of the demolished volume. A single- storey wooden volume with a pure four-sided roof forms the living space that opens onto the lake from the south through large bay windows and onto the rear garden with views of the Jura mountains. Glass facades folding inwards create on the north side the entrance and on the south side a covered terrace with panoramic views.

The plan is organized around a central element, the staircase, which connects the two floors. This one is crowned by a large well of light in pyramidal shape exploiting the volume of the roof. The lower floor was completely redesigned to make the most of the existing space bringing natural light to all living spaces. To complete these, two small courtyards were dug in the topography on the east and west facades. A linear space with a courtyard at each end houses a multi-purpose exhibition room and a relaxation room. An independent apartment for friends is organized on the remaining volume on the south side with exit on the large lower terrace with swimming pool.

Two distinct worlds are superimposed; a more aerial and open on the upper floor, the other more intimate and contained on the lower floor. One was cut in the topography in concrete and natural stone, the other is the fluid space contained between the floor and the roof materialized in glass and wood.

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Call for ArchDaily Interns: Summer 2018

Posted: 05 Apr 2018 03:30 AM PDT

ArchDaily is looking for a motivated and highly-skilled architecture-lover to join our team of interns for Summer 2018! An ArchDaily Content internship provides a unique opportunity to learn about our site and write engaging, witty and insightful posts.

Interested? Then check out the requirements below.

Applicants must be fluent English speakers with excellent writing and research skills.
Applicants must have completed their first year of university/college.
Applicants must be able to work from home (or school/workplace).
Applicants must be able to dedicate 15 hours per week for research, writing and responding to edits; the schedule is flexible, but you must be reachable Monday through Friday.
Writing experience is a huge plus. If you have a blog or used to write for the school paper, tell us about it on the form below.
Basic experience with online blogging platforms, Facebook, Twitter, or Photoshop are a plus. Please indicate this in the form below.
The internship will run between May 2018 - August 2018. *(Flexible)

If you think that you have what it takes, please fill out the following form by April 13th 10:00 AM EST. Applications will be processed on a rolling basis; once we fill the position we will stop accepting applications. (Read: Submit early!)

We will contact potential candidates (and only potential candidates) for follow-ups after April 13th. Late submissions will not be accepted!

ArchDaily internships are compensated.

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How Architectural Drawing—In All Its Forms—Can Help Us See the World Anew

Posted: 05 Apr 2018 02:30 AM PDT

Renovation of Denggao Village. Image © Xinyuan Cao

What do architectural drawings do? Convey visual information about the design of buildings. This much is certain. They do much else besides. They can be idiomatic and ideological, they can express the personality of those who make them and by whatever means—charcoal, pencil, pen, or computer program. They can inspire, provoke and radicalize. They might be realistic or the stuff of fantasy. Or, of course, they can instruct those charged with building a three-dimensional representation of what they see on paper or, in recent years, on computer screens. Intelligence visible, they can also be art.

So, judging an open competition of architectural drawings from around the world, like The Architectural Drawing Prize, can only ever be an exercise in open-ended judgment even when these have been sorted into three technical categories: Hand-drawn, Digital, and Hybrid. How do we begin to compare Chris Raven's intriguing digital analysis of Publicly Accessible Spaces in St Paul's Cathedral with Xinyuan Cao's almost fond cross-section through the Renovation of Denggao Village, two commended entries in the Digital Drawings category?

Publicly Accessible Spaces in St Paul's Cathedral. Image © Chris Raven

Is Riza Aliabadi's 100, a ten-by-ten grid of Rubik's-Cube-like plays on the theme of the Platonic architectural cube, in any way comparable to Anna Budnikova's finely shaded drawing of a Portuguese Street? Both are hand drawn and exquisitely so. While in the Hybrid section, Jerome Xin Hao's colorful, playful and enjoyably complex perspectival Momentum Mori view through A Peckham Hospice Care Home is wholly different in intent from Mariapia di Lecce's Reconstruct with drawing, a way of demonstrating how a graphic analysis of an Italian Renaissance building might help in its restoration.

Along with intelligence, this variety of contemporary architectural drawings by different technical means is also a demonstration of skill and a reminder of how the fusion of imagination and know-how continues to matter in a world in which computer-aided design and robotic modeling (and, increasingly, construction) appear to be making drawing irrelevant. From the sketch made in a café on a paper napkin to the most complex digital representation, drawings made by flesh and blood architects will continue to matter.

Portuguese Street. Image © Anna Budnikova

Aside from skill and artistry, the architectural drawing helps architects and their audiences—from clients to visitors to the Soane Museum—think in new and even unexpected ways. Chris Raven's Publicly Accessible Spaces in St Paul's Cathedral takes viewers on a tour of a seemingly familiar and well-known building through unfamiliar sections and perspectives, showing us the workings of Christopher Wren's cathedral in ways we might not have known before.

Momentum Mori: A Peckham Hospice Care Home. Image © Jerome Xin Hao

In the context of the Soane Museum, and the 30,000 architectural drawings in its care, the manner in which drawings like these help us look anew is mirrored, for example, in the work of Joseph Gandy whose mesmerizing drawings for John Soane imagined how the architect's buildings might appear and feel when they had fallen into ruin in centuries to come. Here were drawings of immense skill and ingenuity turning the world of Soane's architecture upside down even as they explained and celebrated it. The thirteen commended and prize-winning drawings on show in the Soane Museum are in exactly the right company.

Reconstruct with drawing. Image © Mariapia di Lecce

The winners of The Architectural Drawing Prize are on display in the Foyle Space at Sir John Soane's Museum in London until Saturday, 14th April 2018.

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House In Rua do Paraíso / fala atelier

Posted: 05 Apr 2018 02:00 AM PDT

Architects: fala atelier
Location: Porto, Portugal
Team: Filipe Magalhães, Ana Luisa Soares, Ahmed Belkhodja, Rute Peixoto, Lera Samovich, Paulo Sousa
Project Year: 2017
Photographs: Ricardo Loureiro

Landscape Architect: João Magalhães
Contractor: Engilaco lda
Client: Domingo Discreto lda

Text description provided by the architects. A bourgeois 19th-century single-family house was to be divided into a series of identical studio apartments: four living spaces, some circulation areas, and a private backyard. The project happens within a given system of constraints, aiming at an unexpected complexity, finding a certain interest within a very banal set of programs.

Unorthodox everyday spaces are built according to a clearly defined syntax and grammar. The four living rooms are different from each other while sharing the same language, the same set of figures. A defined number of elements - morphemes - within which the project operates: the stepped wall, the curve, two doors (one pink and one green), the striped surface of the floor. The living area becomes a gallery space.

The front facade is almost unchanged. The shabby tiles are replaced by polished green marble contrasting with the roughness of the existing granite frames. A circle of white marble is added to balance the composition.

The back facade is rebuilt. It becomes taller to match the neighbor's scale, like a mask or a temple, with two square windows framing interior scenarios. The polished facade has a bold pattern of vertical stripes assembled with white, green and black marble, creating a rich, yet flat, surface.

The entrance door is hidden within the pattern and a brass circle ends the piece. The pattern disguises the scale of the building and its program while being unnecessarily proud and exuberant. The back facade becomes a painting for neighbors to look at, the main facade for private use.

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Brasil Arquitetura Reveals How Building Recovery is About Meeting the Real Demands of Society

Posted: 05 Apr 2018 01:33 AM PDT

The Brasil Arquitetura office, formed in 1972, is an architect’s association led by Francisco Fanucci and Marcelo Ferraz, having executed emblematic projects such as the Yellow Quarter in Berlin, Germany, the Rodin Museum in Salvador, Bahia and the Praça das Artes in São Paulo, among many others. Both were very close to Lina Bo Bardi at important moments in her professional life, including the construction of Sesc Pompéia. In several projects, they faced the challenge of rehabilitating old buildings, such as the Museu do Pão, Praça das Artes, Rodin Museum and Sesc Pompéia itself. We spoke with the office to know more about this type of intervention.

Teatro Erotídes de Campos. Image © Nelson Kon

ArchDaily: Several of your projects are rehabilitation of old, usually industrial, buildings. What do you find interesting in this type of challenge?

Brasil Arquitetura: In working with the rehabilitation of buildings for other uses than originals, as in the case of old industries, we started a dialectical game. We should take from the building itself, or space, the solutions to adapt to new uses. That is, we never start from scratch. The difficulties and limitations are what guide us and indicate the project solutions, as in a game of chess in which, with each move, we change the reality, having to redo the calculations and to look for the exits, or solutions again. When designing in existing, old buildings or not, we must seek the "vocation" of each space on the program to be implemented. And this is very pleasurable.

Sesc Pompeia - Lina Bo Bardi. Image © Nelson Kon

ArchDaily: What experiences with Lina Bo Bardi and Sesc Pompeia do you still use as reference today?

Brasil Arquitetura: The nine years inside the Sesc construction site were more than a laboratory, a deep training in design practice. We designed a restaurant, theater, swimming pool, courts, gym rooms, library, exhibition spaces, administrative spaces, technical and support areas, etc. Sesc Pompeia is not a single project. There are many within a conceptual unit. Each one with its characteristics and specificities relative to uses and functions. In this period, we also participated in various exhibitions, taking part in all stages, from curatorial definitions to manual assembly work, through thematic research, expography, production, etc. A real school.

Sesc Pompeia - Lina Bo Bardi. Image © Iñigo Bujedo Aguirre

ArchDaily: Can you explain a little about the strategy when choosing what is preserved or not in the existing building?

Brasil Arquitetura: A deep analysis of the object to be used is fundamental - its history, its tectonics, facts and myths. Everything matters and can help. But the most important thing is to do all this recognition reading with the projective eye, that is, from the perspective of what one wants to implant and install in this building or set of constructed spaces; as the future life there should be. A two-way, perspective and projective journey at the same time. That is, when we prospect or seek, we are already projecting because we seek with a goal - or dream, already defined. And as was said, the findings during this search also change the goal. This is the dialectical game.

ArchDaily: What is it like working in Brazil with this type of project?

Brasil Arquitetura: Very good and still unusual, or rather little practiced or adopted as a field of work for this huge mass of architects we have, but also as a possible solution to certain problems in our more than five thousand cities. When buildings become obsolete for the purposes for which they were designed, we must adapt them to new functions, try to incorporate them into contemporary life with new uses. It is not always possible and many disappear, as it happens in the history of the city, for several reasons. But it is worth thinking and trying to find out if they are carriers of at least some vitality that can once again bring them back into urban life. After all, they are fruits of the wealth produced by human labor. But we cannot preserve everything, nor should we want it. Cities are living, mutant organisms.

ArchDaily: What kind of use do you prefer to work on rehabilitation projects?

Brasil Arquitetura: Any use is valid if it makes sense. Making sense means meeting the real demands of society, or of communities, groups of people, and not creating drills, something very common nowadays. Our cities are full of it. I think we are still very focused on designing in the rehabilitation centers of culture and similar. The ideal would be to expand this program, design housing, hotels, hospitals, schools, etc. in these abandoned or underutilized spaces and buildings. They are industrial, railway, empty backyards in the central areas of the metropolis (The Praça das Artes is an example), intriguing spaces, wonderful to dream...

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São Paulo's Anonymous Architecture Captured by Alberto Simon

Posted: 05 Apr 2018 01:00 AM PDT

Far from the noteworthy neighborhoods that often have buildings design by renowned architects, São Paulo's houses capture the modest scale that permeates the identity of its citizens. Alberto Simon, an artist based in the city of São Paulo, photographed the remarkable details of these unassuming housing in his project titled "tamanho_M," which roughly translates to Size M.

Find out more about the project in the artist's own words and see the impressive photos below.

"tamanho_M is a direct encounter with the idea of the middle, the "in between," the equilibrium point, that is visible at the scale and architecture of residential façades in São Paulo's middle-class, traditional neighborhoods such as Mooca, Cambuci, Ipiranga, Santana, Jardim São Paulo, Saúde, and others. It is significant that these districts are not defined by the adjective "noble," and that the architecture represented here is not the result of an architectural authorship, but rather represents a vernacular specific to São Paulo, and recognizable as such.

It is a counterpoint to the way in which São Paulo is most commonly portrayed as an immeasurable agglomeration that grows in all directions, and in particular, expressed vertically. Located in the "interior" of São Paulo and despite the city's size, the series reveals the inner city manifested in the different neighborhoods that have their own centers, traditions, and self-sufficiency.

tamanho_M was carried out during 2005/06. Some of the houses depicted here no longer exist, and, innumerable others, which would have been of interest in this documentation, could not be photographed due to the addition of walls and gates that preclude an unobstructed view of the original design."

For more information about the project, contact the artist by email or on Instagram @alberto.simon.01.

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These Are The 20 Most Livable Cities in the World in 2018

Posted: 04 Apr 2018 11:00 PM PDT

© <a href='https://www.flickr.com/photos/theodevil/4970314282'>Miroslav Petrasko [Flickr]</a>, bajo licencia <a href="https://creativecommons.org/licenses/by-nc-nd/2.0/">CC BY-NC-ND 2.0</a>. ImageViena, Austria

For the ninth consecutive year, Vienna reaches the first place in Mercer rankings on cities with the best quality of life in the world. Despite the current economic volatility in the European continent, the Austrian capital joins eight other European cities in the top ten.

This is the 20th edition of the Mercer Rankings. The consultancy, which specializes in advising multinational companies in the transfer of employees, evaluated more than 450 cities around the world. Their rankings take into account 39 factors divided into 10 categories, including political and economic environment, socio-cultural status, sanitation, educational and leisure opportunities, housing markets and natural disasters.

At the regional level, Vancouver (5th), Singapore (25th), Montevideo (77th) and Port Louis (83rd) are the highest ranking cities in North America, Asia, Latin America and Africa respectively. According to Mercer, the twenty cities with the best quality of life in the world are: