Arch Daily |
- Contemporary Follies Open at Fountains Abbey and Studley Royal Park
- Reí Martí Deposit / ARCHIKUBIK
- Chinese Pavilion at 2018 Venice Biennale to Investigate "Building a Future Countryside"
- Rustic House / Urban Agency
- Shelter For Victims Of Domestic Violence / Amos Goldreich Architecture + Jacobs Yaniv Architects
- Polycarbonate Neverland - Aranya Kid's Restaurant / Wutopia Lab
- Haier Global Creative Research Centre / DC Alliance + Snøhetta
- Bui Vien Office / Nhat Viet JSC
- Sodam-dong Complex Community Center / Daain Architecture Group
- Short Lane / Woods Bagot
- House AT / HRBT
- Could These Uber Flying Taxi “Skyports” Be Coming to a City Near You?
- Bluff Reach / Butler Armsden Architects
- Foster + Partners Unveil Images for Towering DJI Robotics Headquarters in Shenzhen
- Lilu / Alan Chu
- LA's Pershing Square Is Preparing for a Redesign—And Some Worry They Are Losing a Valuable Civic Space
- Studio 6420 / Robert M. Gurney Architect
- Toronto Competition Awards Timber Building to be Constructed on City's Waterfront
- Swiss Pavilion at 2018 Venice Biennale, Celebrates Peculiar Form of Architectural Representation
| Contemporary Follies Open at Fountains Abbey and Studley Royal Park Posted: 10 May 2018 11:00 PM PDT  © Charlotte Graham The eighteenth-century English water gardens were often designed with playful intent. Picnicking visitors would be surprised as fountains spouted without notice and perplexed as they stumbled upon mysteriously evocative structures like gazebos and banquet halls. At Fountains Abbey and Studley Royal Park in Yorkshire, home to one of the world's best-preserved water gardens, these historic botanic and architectural follies—or, impractical, playful forms—were once abundant. Today, they're being reinterpreted through equally whimsical contemporary art installations. Featuring sculptural work by architects Charles Holland, Lucy + Jorge Orta, Fleafolly, and Foster Carter—a precocious local grade-school student—folly! opened on April 28 in the gardens of Studley Royal Park. Supported by Trust New Arts, a partnership between the National Trust and Arts Council England, the below installations will be on view until November 4 on the sites of the Georgian garden's lost follies. Polly by Charles Holland  © Charlotte Graham Co-founder of FAT Architecture Charles Holland created a timber tower for folly! that recalls the exotic birds coveted by the Georgian elite. Nicknamed Polly, the sculpture sits on Tent Hill where "playful structures of eighteenth-century picturesque gardens" once stood. Inside the head of the bird, Holland has fashioned a camera obscura that will provide "new, focused views of the water garden" for visitors.  © Charlotte Graham Gazing Ball by Lucy + Jorge Orta  © Charlotte Graham The pentagonal steel structure created by Lucy and Jorge Orta uses modern materials to evoke the form of the Rotundo, "a classical Ionic folly formerly found on the site." Like the original follies that often created perspectival illusions, the structure's namesake mirrored sphere morphs traditional views of the water garden and the neighboring Octagon Tower in its reflection.  © Charlotte Graham The Bathing House Listening Tower by Fleafolly  © Charlotte Graham Fleafolly architects Pascal Bronner and Thomas Hillier have reinterpreted Studley Royal's original Bathing House, where a nearby spring-fed a plunging pool until the nineteenth century. Their contemporary adaptation features a water-collector that uses internal trumpets to amplify the sound of dripping water to passersby. The modern structure ephemerally houses the sounds of the long-gone aquatic folly.  © Charlotte Graham The Cloud by Foster Carter .jpg?1525736516 "The Cloud by Foster Carter. Image © Charlotte Graham") The Cloud by Foster Carter. Image © Charlotte Graham The eighteenth-century English garden style employed at Studley Royal for the past four hundred years relies on the notion that landscaped space should respond to the existing natural conditions. "The Cloud," designed by eleven-year-old Foster Carter, does just that, statically evoking Yorkshire's dim weather. Carter's design was chosen from 1,800 entries to a competition by the North Yorkshire Society of Architects that sought to cultivate a new generation of playful architects by encouraging folly design.  © Charlotte Graham News via: National Trust.  This posting includes an audio/video/photo media file: Download Now |
| Reí Martí Deposit / ARCHIKUBIK Posted: 10 May 2018 10:00 PM PDT  © Adrià Goulà
 © Adrià Goulà Text description provided by the architects. In the former property where Antoni Gaudí built the Bellesguard Tower, there was recently discovered a big water tank, buried under a pine forest, from the end of the 19th century. The project consists in preserving it in order to create an open space to the public, maintaining the magic of this underground water tank and the architectural rhythm created by the Catalan vaults and arcs every 3.5m.  Rooftop Plan  © Adrià Goulà  Longitudinal Section The access by the Bellesguard street opens on a leveled public square which gets narrower towards the entrance of the water tank space. This new square restores in the district a new public identity. Connections and visual relations with the Bellesguard Tower are created through the materiality of the big concrete walls which become integrated organoleptically with the pine forest which over it.  © Adrià Goulà This new square, participatory private space, which has the function to serve as entrance hall for the reservoir, works as an urban activator with the incorporation in the program of a bar which makes the articulation between the main entrance and the public garden. Inside the water tank space, the floor and walls are dressed in wooden fabrics, vaults and arcs restored, emphasizing a space with unique morphology and in atypical acoustics. This allows the city the opportunity to enjoy a different cultural experience.  © Adrià Goulà  This posting includes an audio/video/photo media file: Download Now |
| Chinese Pavilion at 2018 Venice Biennale to Investigate "Building a Future Countryside" Posted: 10 May 2018 09:00 PM PDT  Ruralation Shenaoli Library / Zhang Lei. Image © Yao Li, Courtesy Pavilion of China at the 16th Venice Architecture Exhibition, La Biennale di Venezia As part of our 2018 Venice Architecture Biennale coverage we present the proposal for the Chinese Pavilion. Below, the participants describe their contribution in their own words.
One of the major challenges facing contemporary built environments is the future of rural development. In China, the countryside has become a new frontier for experiments in this area, and the country is developing its countryside at a speed and scale unseen in the West. Drawn by the promise of boundless opportunity, architects, artists, developers—as well as capital flow—are converging in rural areas across the nation.  In Bamboo / Philip F. Yuan. Image © Bian Lin, Courtesy Pavilion of China at the 16th Venice Architecture Exhibition, La Biennale di Venezia The return to pastoral life has long been an ideal of Chinese literary tradition. In modern times, living in rural areas typically involves aspects such as policy, capital, infrastructure, and technology. While modernization and technological progress promise us better lives with modern living conditions, they also, to some extent, sever the link between rural life and tradition. Faced with mass-produced rural housing brought on by urbanization, architects attempt to find a middle ground between tradition and modernization, taking advantage of modern technology in search of a vernacular connection.  An Old-New House Recycling The Rural during the Celebration / Rural Urban Framework. Image © John Lin, Courtesy Pavilion of China at the 16th Venice Architecture Exhibition, La Biennale di Venezia From the great yellow expanse of the Loess Plateau to the water towns south of the Yangtze, from the vast and abundant plains of northeast China to the green and beautiful farmlands of the south, hundreds and thousands of villages have become sites for industrial development, self-building, and cultural creation. These sites enjoy tremendous opportunities offered by technological innovations, including the internet, logistics systems, and sharing economies. The development of the countryside in contemporary China is unprecedented in both its scale and its approaches. More importantly, this development anticipates a new solution grounded in China's unique conditions. Building a Future Countryside depicts the countryside of contemporary China through six episodes: poetic dwellings, local production, cultural practices, agricultural tourism, community reconstruction, and future exploration. This exhibition outlines a freespace for opportunity and anticipates future development.  Xinchang Village Central Kindergarten Inner Plaza Night View / Atelier Deshaus. Image © Su Shengliang, Courtesy Pavilion of China at the 16th Venice Architecture Exhibition, La Biennale di Venezia Main ProjectsEntering the Pavilion, following the exhibition's route, the main projects are:
Outside the China Pavilion, in the garden:
 Wuyishan Bamboo Raft Factory / Hua Li. Image © Su Shengliang, Courtesy Pavilion of China at the 16th Venice Architecture Exhibition, La Biennale di Venezia Li Xiangning, CuratorDr. Li Xiangning is Deputy Dean and Full Professor in History, Theory and Criticism at Tongji University College of Architecture and Urban Planning. He is a member of CICA (Comité International des Critiques d'Architecture), he has worked as curator for numerous exhibitions and has published widely on contemporary Chinese architecture and urbanism. He is Chief Editor of Architecture China and President of Architecture China Foundation. Furthermore, he has been working with international museums and institutes and he has been a jury member to many international awards and competitions.  Chaimiduo Farm Restaurant and Bazaar / Zhao Yang. Image © Wang Pengfei, Courtesy Pavilion of China at the 16th Venice Architecture Exhibition, La Biennale di Venezia Commissioner: China Arts and Entertainment Group (CAEG)  This posting includes an audio/video/photo media file: Download Now |
| Posted: 10 May 2018 08:00 PM PDT  © Paul Tierney
 © Paul Tierney "The best preventive remedy to ageing is architecture". How to design and build a project that will take few decades to complete "on time" for its owner retirement plan? In this project, ageing and weathering serve as a critical design tool for thinking about how architecture might intercept the changing state of weathering on site.  Courtesy of Urban Agency On a sloping rural site with views over the land, the form and orientation of an existing cottage generates two further, similar buildings, which offer a more complete inhabitation of the ground.  © Paul Tierney The first, a south-facing bedroom emerges from the hill; the second, a bathroom with double height shower of traditional Moroccan construction is largely contained within it.  Sections A The three buildings are connected by a subterranean rooflit corridor whose walls retain the earth. These are sheds, entirely made out of in situ concrete (walls and roofs) and finished with a natural rust iron pigments usually used for gardening, making reference in color and form to vernacular construction.  © Paul Tierney  This posting includes an audio/video/photo media file: Download Now |
| Shelter For Victims Of Domestic Violence / Amos Goldreich Architecture + Jacobs Yaniv Architects Posted: 10 May 2018 07:00 PM PDT  © Amit Geron
 © Amit Geron Text description provided by the architects. Designed by London-based practice, Amos Goldreich Architecture, alongside local firm, Jacobs-Yaniv Architects, this shelter is one of only a handful in the world which has been designed and built in consultation with the staff who will occupy and run it. Led by pioneering human rights activist, Ruth Rasnic, for international charity 'No To Violence', the facility will provide a much-needed refuge for distressed and abused women and children from all localities and backgrounds.  © Amit Geron According to World Health Organisation data up to 45% of women in Israel, like most countries in the west, will be victims of domestic violence at some stage in their lives and recent statistics indicate that 45% of children in Israel are subjected to violence. This is a worldwide epidemic. "…45% of women in Israel will be victims of domestic violence at some stage in their lives…"  Ground floor plan Designing a new facility  © Amit Geron On arrival at the shelter, each new family is given a small 'house' that is part of the larger building. In order to allow the families to conduct a normal daily routine in the shelter, the 'houses' are separated from the communal functions and connected by the internal corridor. The nursery is physically separated from the larger building, which allows it to function as an ordinary nursery would, allowing women to drop their children off in the mornings, and collect them later in the day. "…each family is given a small 'house' that is part of the larger building, allowing them to conduct a normal, daily routine…"  © Amit Geron The shelter houses a diverse range of functions - communal areas, a kindergarten, a computer room, laundry facilities, kitchens and a refectory, independent living quarters for each family, staff accommodation, office areas for the shelter's manager and staff (including social workers, a child psychologist, housemothers, a child care worker, and a part-time lawyer). There are additional professional workers: psychotherapist, drama or arts therapists, as well as volunteers such as cosmeticians, hairdressers, reflexology and martial arts practitioners, and others helping children with their studies and computer skills.  © Amit Geron The green sanctum of the inner courtyard plays a crucial role as a meeting place for the residents. It also serves a functional purpose, providing optimum visual connections between the house mother and the families, as well as between the women and their children. The surrounding internal corridor (or 'street') connects the inside and outdoor spaces and creates a free-flowing space in which women and children can interact, while at the same time maintaining mutual sight lines between them and the staff.  © Amit Geron  This posting includes an audio/video/photo media file: Download Now |
| Polycarbonate Neverland - Aranya Kid's Restaurant / Wutopia Lab Posted: 10 May 2018 05:00 PM PDT  © CreatAR Images
 © CreatAR Images Text description provided by the architects. Wutopia Lab was commissioned by Aranya to renovate part of club house into a restaurant for kids. We hope to create a neverland for kids in this space of less than 1,000 square meters.  © CreatAR Images By digesting the physical properties of materials, we hope to create a place that loses material texture and spatial orientation. The carbonate polymer material used in the "One person's gallery" case was used in combination with light to create an experience of losing sense of size and texture. Bubbles, colorless and transparent, will refract the rainbow, and are fleeting and unpredictable, but kids love them. The kid's restaurant should be a polycarbonate neverland.  © CreatAR Images We used polycarbonate panels to wrap the original facade, a mixture of prairie villa style and contemporary art deco-style, creating a new translucent facade. We put vertical greening and large staircases between the old and new façades. This hierarchical facade was regarded as a complete facade.  © CreatAR Images We re-organized function and streamline. Directly from the outdoor stairs, first stepping into the light forest on the second floor. Under the soft lighting of the light ceiling, the matte PVC pipe encloses a circular dining hall and two private dining room surrounded by polycarbonate panels. Circular, diffuse lighting, white tones make you losing sense of texture, scale, and direction to this space.  © CreatAR Images  First floor plan  © CreatAR Images You can enter the ground floor under the starry skies along the grand staircase. Under the starry sky ceiling, we created a playground for kids using PVC hollow balls, glass fiber cloth, marine plastic balls, artificial stone and floor glue. With a magic mirror as the border of the game space, we try to distort the realism of the place, as if time is not passing.  © CreatAR Images  Second floor plan  © CreatAR Images At the edge of the main space, there is a pink memory bathroom, a sea sound bathroom, a mirror pool, a stainless steel slide, a trampoline, a bubble tree, and a mysterious picture book area. They are the corners hidden in this neverland that waiting for kids to discover for themselves.  © CreatAR Images The most important climax of the entire restaurant is the red flying house built on the roof with double perforated aluminum panels. Following the yellow trace, going through a stainless steel floor, bypassing the bubble tree, twisting toward the ridge, and you can see the light is getting brighter and brighter. This flying house could become an obvious sign of the park easily. It could also be a lighthouse, pointing out the limitations of our lives.  © CreatAR Images  © CreatAR Images We hope that the architectural practice of Wutopia Lab can use a rich imagination and exaggerated artistic techniques to perform "special performances" on daily life, turning everyday life into a "magic reality" and creating a daily miracle that can reveal the truth of real life. We hope that design can turn reality into an illusion without losing its truth. The Anaya Kid's Restaurant is the best example of this design philosophy.  © CreatAR Images  This posting includes an audio/video/photo media file: Download Now |
| Haier Global Creative Research Centre / DC Alliance + Snøhetta Posted: 10 May 2018 03:00 PM PDT  One Corner of the Building Connects with the City. Image © Kai Wang
 City Landmark on the Coast. Image © Kai Wang Text description provided by the architects. Through 29 years' entrepreneurship experiences, Haier Group already has been developed the leading brand of global "white goods" and has become an international-renowned Chinese enterprise at the same time. In 2012, it was awarded the Top 50 among the world's most innovative enterprises. Its development direction gradually entered the network strategy stage, and applying new ideas to lead the enterprise innovation in the Internet age has been the biggest challenge for Haier in this stage. In this context, the enterprise needs to create a cultural symbol reflecting the value of Haier, and to provide an innovative entrepreneurship platform for idea-exchange and thought- collision.
The request of the client requires a building occupy 355,000 square meters, which can include Co-working center, Library, Business institute, and a 750 people Auditorium. Meanwhile, it supplies art and leisure open space so that it will be opened on the weekday, among which contains an Exhibition Space of showing the innovation of Haier, art gallery and an IMAX theatre. The owner hopes it will be presented in open posture and striking architecture language treat for city and coastal landscape. .jpg?1525664621 "An Uplifting Corner. Image © Hui Lu") An Uplifting Corner. Image © Hui Lu This project is located at No. 52 Donghai East Road, Laoshan District, Qingdao, with a gross floor area of 35,500 square meters. Its functions include comprehensive exhibition hall, conference center, business school, cinema hall, mak-er center and expert studio and so on. Project orientation focuses on international frontier and interactive user demands, pays attention to user experience, creates a new space of internet mode, and takes this project as an opportunity to open Haier's cultural complex product line.  Site Plan The concept of "Hill Top" is inspired by the natural landscape of Qingdao, where the most characteristic part of Lao Mountain is situated in opposite of the blue ocean. The Hill Top proposal does not imitate from nature deliberately, but rather catches the quality of Qingdao local natural landscape and translates it in architectural language.  Cantilever Grey Space at Main Entrance of the Building. Image © Kai Wang .jpg?1525664551 "Transverse Horizontal Louver Façade. Image © Hui Lu") Transverse Horizontal Louver Façade. Image © Hui Lu The roof of the Creative Research Centre is formed as a landscape, the North western corner gently falling to meet the street and the three other comers lifted up to provide views to the ocean and horizon beyond. The roof becomes an extension of the public realm, binding the building to the city, providing the opportunity for exterior theatres and social gathering spaces. The axis from the building main entrance towards the sea is gently opened, creating a new relationship from the city to the North and sea through the Creative Research Centre.The overlapping structure strategy of landscape roof has been further extended by facade design.  Fifth Facade Design. Image © Hui Lu The functions of the building are developed by surrounding the courtyard in the center with traditional charm to form an organic whole. The central courtyard not only brings sunlight and air to the interior of the building, but also establishes visual connection between the interior and the exterior of the building due to the uplifting of the building structure, which stimulates the occurrence of communication and interaction and creates the necessary atmosphere for the innovative research activities accommodated in the building. The structure of landscape shapes the city landmark, while at the same time, it breaks the concept of "layer" inside the building to let the space flow up and improve the communication and interaction.  Section In order to ensure that the romantic idea can finally be realized, technical means of both rational rigorous and cost-effective is of the essence.First, we need to transform complex structures into rational modular systems. A modular system (600mm-based) was used to rationalize the complex form, so that the volume, structure, curtain wall, ceiling system and interior space can match each other.  Exploratorium. Image © Kai Wang  Stepped Library. Image © Kai Wang At the same time, a series of specific measures are used to meet the great structural challenges: 23m large span, 20m large cantilever, 55 degree rigid steel inclined column connection, 16 different slope inclined plate roof, and primary structure rising to secondary structure, which are the foundation for realization of unique forms, large-scale urban gray space at the entrance and complex vertical relationship internal of the architecture. .jpg?1525664569 "The Roof of the Research Center. Image © Hui Lu") The Roof of the Research Center. Image © Hui Lu  Central Landscape Courtyard. Image © Kai Wang In order to integrate equipment, drainage and landscape, a double-layer roof system is adopted to create the 'fifth-elevation' of the building. It adopts all air system and full fresh air operation in transitional season to save energy consumption; the medium water source heat pump is for cooling and heating, which is stable and environment-friendly; fresh air electrostatic filtration effectively removes PM 2.5; all-round intelligent design with four plates and 20 sets of systems... careful design and strict control for every link from design to construction ensure that the project finally wins the LEED-NC gold certification of USA. The whole course of the project adopts BIM design and carries out all-round discipline drawing correction to optimize the space quality to the maximum extent and ensure "just one time". .jpg?1525664663 "The Great Steps of the Conference Center. Image © Hui Lu") The Great Steps of the Conference Center. Image © Hui Lu The Creative Research Centre will become a landmark in the city, a landmark both for the citizens of Qingdao and for the Haier, an opportunity to showcase new innovation and technology at the same time as engaging with citizens and nature.  The Research Center Provides an Open Public Ocean-Viewing Platform for the City. Image © Hui Lu  This posting includes an audio/video/photo media file: Download Now |
| Bui Vien Office / Nhat Viet JSC Posted: 10 May 2018 01:00 PM PDT  © Quang Tran
 © Quang Tran Text description provided by the architects. Have this project ultilized the site value yet?  © Quang Tran The land contains a lot of memories:  © Quang Tran Although it is an old building, this architecture is not yet qualified enough to be preserved, so it is not remodeled. Besides, it is not too degraded to be demolished or rebuilt. While the land is located in the best location in District 1, the value of real estate is almost none. People here do not sell, do not rent and do not do any kind of business. Being abandoned, not bring any economic values, lots of space here cannot be rented so that people went away; have been left the room empty for 15 years.  © Quang Tran The design team has come up with a concept of "re-use" that is higher than the usual requirement, which is aimed at creating inspiration for both the user and the community. Will it make office space more enjoyable than regular office on the street or on the office building? The staff and customers will experience the old story of the French architectural scene, interacting with peaceful people and be hidden in the tranquil atmosphere of the courtyard in the apartment complex.  © Quang Tran "Open" - Green connection: Open windows and roof doors to connect with oil trees (a unique species of old Saigon) is more than 100 years old.  Section Inside the office, the solutions for planting trees in the vertical and horizontal lines also connect the trees from the roof to the office and connect to the courtyard of the apartment building.  © Quang Tran "Open" to view and air-conditioning: combine opening the roof and the void to connect two floors vertically.  1st Floor  2nd Floor plan 1 "Open" to create a flexible space for multifunction area on the 2nd floor: 2nd floor – design without separated areas; setting up furniture in modules is to fit in differences of activies such as meetings, discussions, organizing small events or exhibitions, and so on.  © Quang Tran  This posting includes an audio/video/photo media file: Download Now |
| Sodam-dong Complex Community Center / Daain Architecture Group Posted: 10 May 2018 12:00 PM PDT  © Woosang Yang
 © Woosang Yang Text description provided by the architects. Community Node : Third Place Cities are connected to various functions such as the square, architecture, and space through diverse paths. Social relationships are generated by the nodes between these paths and elements (e.g., square, architecture, and space). Multi-layered social spaces trigger diverse new relationships from the users who utilize community facilities.  © Woosang Yang  Ground floor and First floor plans  © Woosang Yang Multi-layered social spaces include the circular flow of human traffic made of a circular ring structure, places where social relationships are generated such as culture square or green bridge, places that do not refine actions such as convergence garden, and relationship space, which can be public or private depending on the location and characteristics of it.  © Woosang Yang  This posting includes an audio/video/photo media file: Download Now |
| Posted: 10 May 2018 10:00 AM PDT  © Trevor Mein
 © Trevor Mein Text description provided by the architects. The design proposes a unique mixture of 22 apartments which appeal to the dramatic surrounding lifestyle of Surry Hills on top of a new fine grain retail component on the ground floor that activates the street frontage, existing lanes by introducing a new 'Short Lane' that joins both.  © Trevor Mein Within the locality heritage items have been identified and carefully taken into consideration during the design process. The height, scale, materiality and architectural expression are designed to complement the adjoining 8 storey, board-formed concrete, Wesley Mission building and the neighbouring 1847 Methodist Church façade and hall.  © Trevor Mein  Level 2 Plan - Section  © Trevor Mein The beautifully crafted Beresford Hotel and its courtyard opens towards the existing lane and rear lane retail and entry, and an adapted old Terrace which has been converted to a small food precinct forms part of the site. The terrace featured a graffiti art work which was restored by the original artist and forms part of the new lane entry experience.  © Trevor Mein The retail spaces are articulated as a series of metal clad framed window bays within a larger framed form. This play with scale allows the double height retail spaces to mediate with the finer grain of the associated terraces and smaller scale commercial buildings at street level enabling a diversity of offers from wellness to quality food.  © Trevor Mein The varying scale of the retail facades provide the visual framework to accommodate a variety of different internal tenancy divisions without compromising the character of the design or the context. The deep reveal ensures internal tenancy design doesn't privatise the public domain or reduce the visual weight of the pedestrian scaled façade. This is further articulated with vertical infill elements consisting of glass window, operable screens and ribbed aluminium panels between concrete terraces.  © Trevor Mein The residential levels above are expressed as a series of horizontal concrete landscaped terraces which stagger across the building elevation with shooting Cilandra and Periwinkle dripping planting create private botanical spaces for the residents. The staggering forms create a natural screen between apartments and justifies a "living building" to the street frontage.  © Trevor Mein Inside, understated interiors create a sophisticated urban retreat. Exposed concrete ceilings are balanced by the earthy warmth of oak floors.  © Trevor Mein Sustainability:  © Trevor Mein Operable windows are provided to all rooms including bathrooms which are located along the facade. The communal areas of each apartment including the living, dining and kitchen areas all have good cross ventilation with operable windows at either end of the space. Each living area also has full height sliding glass doors to an outdoor area.  Urban Gardens - Lane Activation Substantial landscaping has been included on all levels of the development providing deep soil zones for large vegetation and smaller scale planting areas. The landscape is appropriate to the locality and has been designed to meet minimal water requirements.  © Trevor Mein On-site car parking is not provided due to the inner city location, with good access to public transport and direct access to the inner city bike lanes.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 10 May 2018 08:00 AM PDT  © Onnis Luque
 © Onnis Luque Text description provided by the architects. AT House is defined by the repetition of a series of concrete walls, which modulate the interior spaces, aligned on a single axis, the architecture grows from the bedrock, with concrete planes holding the roof slabs and sun covers, creating a fragmented-light play.  © Onnis Luque
 © Onnis Luque The house is located on the highest point of the hill, it gazes mainly inward, to avoid the neighboring street, and a series of greenery filters views of the Oaxtepec Valley, the fields, and the sky. The roof slab is slightly slanted back, so there is more air for the main spaces and openings for the views, and the inside corridor is located north, on the lower ceiling-height, leading the way to each room, with greenery and northern light, and openings on each end of the corridor.  © Onnis Luque Cast concrete is kept apparent, rough with the wood form visible, the masonry walls were recovered from the excavation, used to create privacy between neighbors, topped with greenery. All the concrete, stone and woodworking is designed to a 1-foot module.  © Onnis Luque  West Elevation and Sections  © Onnis Luque The garden was designed with locally sourced plants, succulents for low water requirement landscaping, and all other irrigation is done with recycled wastewater, with a biological secondary treatment, without chemical additives. Water and solar management was part of the design of the house, south-facing facade allows for a full-day solar irradiation for the pool, vents on both sides of the house, and concrete aileron that blocks direct-sunlight into the house, help lower heat gain and air conditioning needs.
The Rooftop is a clean, non-hydrocarbon releasing surface, ideal for rainwater harvesting. Rain collected on the 220 m2 surface is collected through 2 pluvia outlets, a cast-in-concrete siphonic piping and sent to a rainwater filter and the first flush, this separates the most polluted rain from the rest, which is the collected in a 4,000-gallon rainwater tank. Once it starts to accumulate, a 20 gpm potabilization system turns it into clean potable water and stores it in the main water cistern. Oaxtepec records an average of 37.5 in of rainfall per year.  © Onnis Luque Once the potable water is used in household services, the sanitary drainage collects it towards the house’s waste-water treatment plant, which turns it into clean treated water and stores it in a separate tank, used for irrigation and non-potable water need, if this tank overflows it gets infiltrated into the ground. The house does not discharge to the municipal drainage. Potable water is heated with solar-thermal equipment, and the pool is maintained with a salt based disinfectant.  © Onnis Luque Energy-Wise, we installed 15 PV panels, with room for 30 more, either solar-thermal or PV and runs 100% of its power needs on renewable energy. The generated power is measured with the local utility with a bidirectional power meter, with a mobile monitoring app making it easy to keep records and energy usage. By means of user-friendly, renewable and affordable technologies, AT House reduces its power, energy and material requirements to offer a comfortable, cheap to run and beautiful house, in contact with nature and the elements.  © Onnis Luque
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| Could These Uber Flying Taxi “Skyports” Be Coming to a City Near You? Posted: 10 May 2018 07:00 AM PDT  Corgan scheme. Image via The Verge Uber has unveiled images of its vision for the future of its revolutionary ride-sharing business. "Uber Elevate" seeks to herald in a new era of "urban aerial ridesharing" beginning in 2023 with customers able to hail a flight on-demand. As reported by The Verge, this future vision has seen Uber hold a competition inviting architecture firms to speculate on the "Uber Air Skyports" of tomorrow. The Skyports comprise a system of launchpads and landing sites throughout the urban landscape hosting a futuristic "flying taxi" service. At the company's second annual Elevate conference in Los Angeles in May 2018, Uber revealed the winning designs from six firms, capable of transporting more than 4000 passengers per hour.  Pickard Chilton / ARUP scheme. Image via The Verge Pickard Chilton and ARUP collaborated to produce a "Sky Tower" capable of facilitating 1000 vehicle arrivals and 1000 departures every hour, assuming five passengers per vehicle. Based on a "pragmatic and research-driven approach," the scheme is defined by a modular system which could grow both horizontally and vertically to suit any urban condition.  BOKA Powell scheme. Image via The Verge Meanwhile, BOKA Powell's winning scheme allows for a reversal of vehicle operation to account for wind direction, centered on twelve vertical landing and takeoff pads. The scheme also features micro-turbines integrated into the façade, "living" vegetated walls and a PV-clad sun shade.  Humphreys & Partners / ARUP scheme. Image via The Verge Humphreys & Partners' Skyport is set in West Downtown Los Angeles, exploiting the potential of repurposing existing parking garages and lots, as flying taxis replace cars as the dominant mode of transport. Created from a "bio-concrete" mixture of concrete and limestone-producing bacteria, this piece of "living architecture" would fill and self-repair cracks and damage when activated by water.  Gannett Flemming scheme. Image via The Verge Also seeking to integrate with existing parking facilities is Gannett Fleming's design for an intermodal transportation hub, with scalable single, double, triple, or quad configurations to respond to urban, transport, and regulatory variations. The scheme also responds to a sustainability agenda, with photovoltaic receptors, transparent concrete, sound walls, and recharging sites.  Beck Group scheme. Image via The Verge Beck Group's submission was inspired by the beauty of hexagonal forms in beehives, establishing a narrative of flying taxi "bees" leaving and returning to a Skyport "hive" in a never-ending cycle. The flexible shape can accommodate 150 take-offs and landings per hour, scalable to 1000 hourly trips.  Corgan scheme. Image via The Verge Meanwhile, Corgan has based its submission on a single module, adaptable for open sites, or any rooftop from garages to skyscrapers. A stacked system sees a station building maintaining a physical connection with existing urban fabric, with a rooftop flight deck accessed by a connecting Bridge, managing a flow of passengers while representing a "beacon of innovation". For cities excited by the prospect of hosting an Uber Skyport similar to those depicted above, UberAIR is planning to partner with three "launch cities" to test the project's viability. While Dallas and Los Angeles have already claimed this status, Uber is still seeking a third international partner city to offer commercial UberAIR flights from 2023. Governments have until July 1st 2018 to express an interest. Images via The Verge  This posting includes an audio/video/photo media file: Download Now |
| Bluff Reach / Butler Armsden Architects Posted: 10 May 2018 06:00 AM PDT  © Joe Fletcher Photography
 © Joe Fletcher Photography Text description provided by the architects. On a jagged cliff overlooking the Pacific, tucked in between tufts of cypress, an architectural gem becomes a family vacation home under the design vision of Lewis Butler and Reba Jones. The home, located in the 1960s planned community of Sea Ranch, preserves the distinguishing elements of its neighboring buildings — vertical wood siding, muted materials, views full of drama — while giving the clients, a San Francisco-based couple in search of a secluded retreat, details all their own. For the architects, as enamored of the curving coast and soothing landscape as their clients, updating the home, designed in 1974 by Ralph Matheson and renovated in 1990 by William Turnbull Jr., proved easier than expected. With its relaxing lushness, the site itself played the role of mediator.  © Joe Fletcher Photography The near-impossible ease infused into the project by its surroundings meant that the hard-won details could become at once feature and backdrop. In the living room, The Siren, a pendant light by David Weeks, only seems to sing its song momentarily, guiding views back through floor-to-ceiling windows out onto the water. Resisting the temptation to provide views that expansive in every space of the house, the architects placed windows carefully. Views from the bedroom and family room are let in through smaller openings, the exact right size for an introspective moment. Between the library and master suite, a blind door provides just enough separation so as to be forgotten. And while these spaces are made with the precise desires of the clients in mind, it's in the two office spaces that the design details most reflect the personalities of the couple. In his office, a desk surface custom-made of star-fire glass sits atop two blackened steel bases that call to mind the fins of a turbine engine. In hers, a made-to-fit taupe window seat leaves anyone sitting in it suspended over the Pacific Coast.  © Joe Fletcher Photography  Main House First Floor Plan  © Joe Fletcher Photography The architects showed just as much care in the choices made throughout the rest of the home, where furniture and finishes dance delicately together. The art pieces throughout the home capture the eye but release it quickly, a nod to the Sea Ranch philosophy that guides every home on the site: nature is forthright. And if that's so, then the house lets in the precise dose of its surroundings through its materials. In the living room, a powder-coated steel stair leads into one of the few additions to the plan, a tower housing a new office. The white-washed vertical planks of Douglas Fir that wrap the interior spaces recall the cedar covering the exterior of the home.  © Joe Fletcher Photography It's this blur between built and natural, between smooth and sharp, interior and exterior, that makes the house — and its inhabitants — feel at home in Sea Ranch.  © Joe Fletcher Photography  This posting includes an audio/video/photo media file: Download Now |
| Foster + Partners Unveil Images for Towering DJI Robotics Headquarters in Shenzhen Posted: 10 May 2018 05:00 AM PDT  Dajiang innovation HQ, Shenzen, China. Image Courtesy of Foster + Partners Foster + Partners has unveiled their vision for the headquarters of DJI, the world's leading robotics company, to be located in the Chinese technological powerhouse of Shenzhen. Symbolizing the "heart of innovation" for the robotics giant, the scheme seeks to alter the traditional concept of office architecture, generating a "creative community in the sky." Comprised of two towers, the scheme strikes a balance between research, development, office space and public amenities. The floors comprise floating volumes cantilevered from central cores by steel mega-trusses, ensuring maximum flexibility in large, column-free workspaces.  Dajiang innovation HQ, Shenzen, China. Image Courtesy of Foster + Partners  Dajiang innovation HQ, Shenzen, China. Image Courtesy of Foster + Partners The scheme contains unique quadruple-height laboratories for drone flight testing, while a sky bridge linking the twin towers serves as a platform for showcasing the latest drone technology. At ground floor, the scheme hosts a public exhibition space showcasing DJI's reputation for technological development, a theatre to host product launches, and a variety of staff facilities including gymnasiums and, more importantly, "robot fighting rings."
News via: Foster and Partners  This posting includes an audio/video/photo media file: Download Now |
| Posted: 10 May 2018 04:00 AM PDT  © Djan Chu
 © Djan Chu Text description provided by the architects. Brazilian Chef André Mifano chose a small house on Francisco Leitão Street in Pinheiros to house his new restaurant. He asked for a simple place, open to the street, without formalities,where food and cooking would be the center of attencion. The dish is taken to the table directly from the kitchen by the person who prepared it.  © Djan Chu  Plan  © Djan Chu The 83sqm space houses in the same environment, bar, kitchen, toilet and hall. 3 metal boxes define the functions and occupation of space. The boxes were arranged in the longitudinal direction of the building wich is 4.60m wide by 18.00m deep. The open kitchen is in the center.  Drawing The old parking lot of the house was transformed into a small square linked to the sidewalk that also works as waiting área. The front and rear facades of the 1931’s house retained the characteristic shape defined by the old existing roof, and the wall was replaced by metal frames with different types of glass, design and openings that reflect the freshness and irreverence of the place.  © Djan Chu  This posting includes an audio/video/photo media file: Download Now |
| Posted: 10 May 2018 02:30 AM PDT Surrounded on all sides by "business blocks of architectural beauty and metropolitan dimensions," the intersecting planes of Pershing Square in Los Angeles provide a modernist retreat for many Angelinos in the downtown area. While to some, the square's large stucco tower and aqueduct-like water feature serve as a cultural landmark, the park has drawn negative press due to its lack of green space and abundance of drug-related activity. John Moody purposefully concentrates on the perception, memory, and identity of the space in his documentary Redemption Square—winner of the Best Urban Design Film 2017 at the New Urbanism Film Festival. Using the voice of strangers, residents and those who used to call it home, Moody guides you from the park's formation in 1866 to its impending renewal: a "radically flat" redesign courtesy of Agence Ter and Gruen Associates.  Courtesy of John Moody The first iteration of Pershing Square was in every sense a "working man's park." Envisaged by John Parkinson, who would later design several civic buildings across Los Angeles, the park served as an escape for those who could not afford a garden of their own. Popular among locals and visitors alike, its features were reminiscent of royal parks across Europe: several clearly defined paths radiating from a single focal point; a three-tiered fountain; which encouraged the gathering of a community. Its importance within Los Angeles was emphasized by both the erection of several statues to celebrate local and national pioneers, and its regular use as an accessible public forum, in particular during the war.  Courtesy of John Moody However, this importance began to diminish with the post-war decentralization of Los Angeles, as Pershing Square saw several changes that would have a great effect on its future development. A car park built underneath the open space in 1952 lead to limited access, with the corners of the park offering the only route around the large ramps that descended below, while the diverse pockets of trees and flowers made way for a thinly laid lawn. Consequently, a large number of LA's homeless took refuge in the relative safety of the park. Consequently the documentary's star, Lorraine Morland, recounts the several nights she spent within the comparative comfort of the dried up pond. Through economic necessity, the square had become the "neglected jewel" at the heart of the city, primed for reinvestment.  Courtesy of John Moody Designed at a time when landscape urbanism was only just emerging as a concept, Ricardo Legorreta and Laurie Olin's concrete-heavy modernist playground was tasked with altering Pershing Square's negative reputation, capturing the zeitgeist of the newly-fashionable downtown LA. Heavily influenced by the 1980 Pritzker Prize Laureate Luis Barragán, Legorreta used bright colors and cubist forms to highlight the park's ability to slow life down, envisioning a space where people came to reflect on the many sculptural interventions during their hectic day-to-day. Due to the raised height resulting from the parking lot and outer walls, the square was almost completely dissociated from the street, while the terraced grass on the north side gave birth to event spaces and the park's various stucco features evoked memories of both past and present.  © <a href='https://commons.wikimedia.org/wiki/File:Pershing_Square.JPG'>Wikimedia user The Angels 2010</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> Initially a success, the park later lost favor in the city due to the returning drug addicts and homeless, with the LA Times stating that in order to use the park people must "be willing to rub shoulders with citizens they seem to prefer to keep at a distance." Amending the mishaps of its post-war neglect, Agence Ter and Gruen Associates hope to break down the harsh concrete shell, where green space plays second fiddle to the city around it. The walls of Legoretta's design that gave refuge to many people like Lorraine are to be removed, and the ceiling of the car park below lowered, to create a seamless blurring of street and park. Reinstating some features similar to the classical layout championed by John Parkinson, the design allows the promenade to take center stage, with a pergola acting as a linear focal point running along the east side. The new proposal goes down a path of reversion; malleable in a way that allows for future adaptation, appreciating the continuous development of the urban fabric.  Courtesy of John Moody
 Courtesy of Agence Ter and Team However, described in the documentary's stories as "a park for everyone," where "anyone is welcome," is Pershing Square once again in danger of turning a blind eye to the problems that have always lead to its downturn? Founded as a green space for all of the city's people regardless of their situation, would yet another redesign simply recycle a society-wide problem to other parts of Los Angeles in favor of attracting a more white-collar clientele to the area?  This posting includes an audio/video/photo media file: Download Now |
| Studio 6420 / Robert M. Gurney Architect Posted: 10 May 2018 02:00 AM PDT  © Anice Hoachlander
 © Anice Hoachlander Text description provided by the architects. This small structure, sited in the rear yard of a residential property in northwest Washington, DC is designed to provide garage space and a small studio to service the main residence. The project is intended to mediate between a gritty public alley and a landscaped rear yard with swimming pool. The new structure combines with the main residence to provide a private "courtyard" type space where the swimming pool and terrace are located. The 560 square foot building is a simple rectangular volume with minimal fenestration. A tall chimney element is designed to accommodate all roof infrastructure penetrations in a single location and to provide a plenum for both natural and mechanical ventilation. Corrugated zinc siding is oriented horizontally to emphasize the length of the composition. A wood slatted fence is designed to be harmonious with adjacent side garden while a Corten steel wall at the rear property line responds to the less refined alley context.  © Anice Hoachlander  Plan - Section  © Anice Hoachlander A small bathroom services the studio and provides a changing room for swimmers. The garage space, designed originally to house an automobile, proved to be a very flexible space. Soon after the structure was completed, the owner's "millennial" son removed the car, inhabited the space and made it his own.  © Anice Hoachlander This project is efficiently designed, employing a simple, straightforward massing intended to provide a screen between the rear yard and the public alley. It is designed to be in scale with courtyard it creates and the surrounding terraces and landscaping.  © Anice Hoachlander  This posting includes an audio/video/photo media file: Download Now |
| Toronto Competition Awards Timber Building to be Constructed on City's Waterfront Posted: 10 May 2018 01:00 AM PDT  Courtesy of Moriyama & Teshima Architects A collaboration between Moriyama & Teshima Architects and Acton Ostry Architects have been announced as the winner of the competition for a new timber building in Toronto. Their proposal beat out several other notable firms including Shigeru Ban, who is known for his timber constructions, Patkau Architects who worked with MJMA, and Provencher_Roy who partnered with Turner Fleisher. The winning design scheme, called The Arbour, will be a net-zero tower to house a new school of computer technology as part of an expansion at George Brown College.  Courtesy of Moriyama & Teshima Architects The design for the 12-story building features a pitched roof and large amounts of glazing so the timber interior can be easily seen from the outside. The building also utilizes a structural pattern that resembles a tartan grid with a large area of circulation running through the middle and supporting open walkways and stairs pushing towards the exterior. The periphery also features a variety of labs and classrooms that have the flexibility to change size and shape over time due to the building's large-span beamless structure.  Courtesy of Moriyama & Teshima Architects The Arbour is designed to be an example of innovative, sustainable construction and an icon for the future development of Toronto. Situated right on the city's waterfront, the building will attract both tourists and locals alike. The project is expected to begin construction in 2021. News via: Moriyama & Teshima Architects.  This posting includes an audio/video/photo media file: Download Now |
| Swiss Pavilion at 2018 Venice Biennale, Celebrates Peculiar Form of Architectural Representation Posted: 09 May 2018 11:00 PM PDT  Courtesy of Pro Helvetia As part of our 2018 Venice Architecture Biennale coverage we present the proposal for the Swiss Pavilion. Below, the participants describe their contribution in their own words. The Swiss Arts Council Pro Helvetia is delighted to announce the presentation of «Svizzera 240: House Tour» at the Swiss Pavilion at the 16th International Architecture Exhibition – La Biennale di Venezia. The exhibition focuses on the unfurnished interior of contemporary housing by celebrating a peculiar form of architectural representation — the «house tour». A house tour offers a meandering, eye-level view onto the apartment interior. This view consolidates into a series of images, which register the apartment according to the qualities and effects afforded by its quintessential architectural palette: a ±240 centimeter volume dressed with white walls, skirting board, wood or tile flooring and off-the-shelf components and fittings. Visitors to the Biennale Architettura are invited to come into the Swiss Pavilion and take a house tour of the ubiquitous apartment interior. What is built within the Swiss Pavilion is not a «house» but a house tour: interior scenes are constructed at a range of different scales and spliced together, creating a labyrinthine sequence of interior perspectives. In preparing this tour, the curatorial team assembled a vast archive of unfurnished interior photographs from the websites of Swiss architecture offices. By focusing attention on the apartment's unadorned shell, these «house tour» images foreground an iconoclastic surface that has historically avoided the purview of architectural representation by hiding behind the plan's promise of rationality and control. Like the whitewashed walls of art galleries or Protestant churches, the walls of a flat were  Courtesy of Pro Helvetia For «Svizzera 240: House Tour»'s architects, Alessandro Bosshard, Li Tavor, Matthew van der Ploeg and Ani Vihervaara, the paradoxical presence of the image of the unfurnished interior implies a challenge to the tradition of the inconspicuous interior The installation reverses the standard format of the architectural exhibition. Instead of representing building (or using representation in order to build), the architects build representation. The construction of the installation adheres more to the principles of the image of an apartment than those of an actual apartment. The image's inability to convey scale, dimension, depth or spatial adjacency is presented to the viewer in built form. You enter an impossible dwelling. On this tour, you are no longer an apartment dweller, builder or buyer —nor are you an academic or even an architect— you become an entirely new architectural subject, a house tour. Drawing on this year's Biennale Architettura theme of «Freespace», proposed by Yvonne Farrell and Shelley McNamara, «Svizzera 240: House Tour» proposes that architecture's relevance lay not solely in its capacity to build generous spaces, but also in its ability to construct representations which, by soliciting alternate ways to see or engage the world, are capable of extracting latent potential from even the most restricted architectural conditions. The exhibition is accompanied by a catalog produced in collaboration with Adam Jasper, Studio Martin Stoecklin and Park Books. This book takes the reader on a photographic house tour through the unfurnished Swiss apartment interior. This tour is complemented by texts from an interdisciplinary group of writers that directly respond to photographs of unfurnished interiors.  This posting includes an audio/video/photo media file: Download Now |
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