Arch Daily |
- Jeddo Road / Inglis Badrashi Loddo
- Residence in Parnassus / Tsolakis Architects
- ZAKK and MB'S House / Sawadeesign
- Grosvenor / Bean Buro
- Sky Box House / Garg Architects
- Designs by Adjaye Associates, BIG, DS+R Released for Adelaide Contemporary Museum
- CUPA Pizarras Showroom / Iván Cotado Diseño de Interiores
- Vía Vallejo / Grow arquitectos
- Historic England Celebrates Postmodernism with 17 New Heritage Listings
- W Residence / Furman + Keil Architects
- Jury Members for the 2018 Venice Biennale Announced
- 12 Cachagua / Mobil Arquitectos
- Architecture in Limbo: How Technology is Changing the Way We Use "Useless" Space
- Rimrock / Olson Kundig
- AD Classics: Suzhou Museum / I.M. Pei + Pei Partnership Architects
| Jeddo Road / Inglis Badrashi Loddo Posted: 11 May 2018 10:00 PM PDT  © David Grandorge
 © David Grandorge Text description provided by the architects. Situated in an area of South Acton formerly known as 'Soapsuds Island' due to the prevalence of laundries and washhouses that dominated the neighbourhood, the Jeddo Road project is rooted in this locality. Totalling 1100sqm in size and built for £2.6m, IBLA's skilfull refurbishment preserves the site's colourful history and original features, with extensive new additions purposefully built to visually grow out of the original in a clean and contemporary way.  © David Grandorge  Section 3600  © David Grandorge The original buildings comprised a house (no.69) and part of the former Jeddo Works building (no.67), each dating from the 1870's. IBLA made the decision to return back to the Victorian elements and remove the poor quality 20th century additions. The double-height rusticated arches of Jeddo Works were carefully stripped of white paintwork to expose their deep red coloured bricks and original house was revived with the installation of a new concrete-framed extension. The new exterior matches the proportion and feel of the arches and adjacent buildings and was finished in a similarly industrial red-brick and patinated zinc.  © David Grandorge As a mixed-use development the new build in no.69 contains office space and flats. On the ground floor an open-plan office is occupied by another architectural practice, with double height ceilings accommodating a mezzanine level for a modern workplace. The flats above were aimed to contrast with the heritage of the exterior and as such are fitted out with a calm-palmette of materials including exposed concrete, steel beams and timber. These interiors are lit with ample, natural light from all sides. The penthouse flat that lies at the top of Jeddo Road benefits from a wrap-around balcony that offers spectacular views across central London.  © David Grandorge  Section Block A 3000
These light and modern mews houses decked in white steel and timber face the communal courtyard, and have private sunken gardens, balconies and generous roof terraces which link to the first floor living spaces. The steel framed structure, recalling traditional Georgian canopied balconies provides both additional exterior space and mediates between the houses and the courtyard.  © David Grandorge As a 21st Century piece of architecture Jeddo Road is designed to be sustainable and sensitive to the environment, and includes range of measures that exceed the requirements of Code for Sustainable Homes Level 4. Building fabric was designed to minimise heat loss through high levels of insulation and air tightness. South facing winter gardens on the main block exploit passive solar heating and, combined with exposed concrete soffits contribute to the building's thermal mass, improving energy efficiency further. Products and materials were sourced sustainable and locally, and fabrics were reused and wherever possible.  © David Grandorge IBLA Director Patrick Inglis said of the project " Jeddo Road is a big refurbishment in scale but as with all our projects we wanted the end result to be imbued with a real sense of 'rootedness' in its context and heritage. By returning the site to it's Victorian look and feel we then had space at the back to build light, high-quality and contemporary homes and an office. The contrast is terrific and we're delighted how much we brought to and got out of the site."  © David Grandorge  This posting includes an audio/video/photo media file: Download Now |
| Residence in Parnassus / Tsolakis Architects Posted: 11 May 2018 07:00 PM PDT  © Panagiotis Voumvakis
 © Panagiotis Voumvakis Text description provided by the architects. At the foot of Mt. Parnassus, a paternal residence revives decades of history. Stone-built, dark and mysterious, it restores experiences and memories. This building featured some kind of state monopoly, in the form that the latter used to have in Greece four decades ago. Dozens of traders would arrive there on a daily basis to purchase alcohol, matches, oil, cardboard, and salt.  Floor Plan Today, forty years later, the dwelling is taking the form of a residence – museum, aiming to both offer accommodation and host an exhibition of collectibles. Consequently, the "monopoly" feature is revived as a place of reminiscence. Rich in attributes, enthralled by associations, subconsciously present. Registered in human memories, it becomes again a threshold of experiences.  © Panagiotis Voumvakis Space gains scale, meanings, and heterogeneity through sentimentality and emotional awareness of the new user. They refer to an empirical act in a continuous game of semiotics. Everything reflects a human image. Everything speaks to them, for them. The landscape is alive. The architectural implementation is conveyed through a central composite element, that of the wooden showcase. The latter features the heirloom of the "monopoly" as well as dozens of other unique works of art. The wooden self-supporting structure is mounted on a modern fixed base.  Sections 2 The form of the compact pedestal varies across the three dimensions throughout the residence. The two elements act as a system of heterochronic references, addressing both the history of the building and the way in which the new user appropriates the space. The look is directed by the objects and the mystical light. Touch conquers matter. The skin comprehends weight, density, temperature. The visual and haptic sensations determine the intensity of the experience and facilitate the perception of the composition and robustness of the space elements.  © Panagiotis Voumvakis The natural materials reveal age while narrating the origin and the way in which they were sculpted. The years passed are reflected in the patinas of aging. The colors and textures compose a special heterotopia, giving rise to a distinct form of habitation, in terms of memory and reminiscence. With a view to physical, visual and intellectual motion in the individual parts of the building, the design aims at a holistic empirical experience, intertwined with time and memory.  © Panagiotis Voumvakis  This posting includes an audio/video/photo media file: Download Now |
| ZAKK and MB'S House / Sawadeesign Posted: 11 May 2018 03:00 PM PDT .jpg?1522665843 "© Quang Trần") © Quang Trần
 © Quang Trần Text description provided by the architects. Zakk&MB's house is a renovation project that we decided to make a light impact on the house to create a much better living space for the new house owners. However, this requires much time to focus on details for the spaces.  © Quang Trần Zakk & MB's House is a renovation project located in a typical residential area of Binh Thanh district, HCMC. Its status quo has a 4X18 m2 site, 4 stories, and was constructed in 15 years ago with a very particular style of Vietnamese narrow house. The existing stair system divided the house into 2 parts: front and back where placed different functions. Therefore, it is necessary to focus on 2 passive design factors: natural lighting and ventilation. .jpg?1522665519 "© Quang Trần") © Quang Trần This aims to recreate a better living space for a new young couple and their two dogs. With different house owners, the new functions of the house are much simpler and more efficient. We proposed a gentle and economic change: replacing all concrete walls around stair system with a transparent metal boundary with bamboo pattern. This way increases connection between the front and the back spaces. Maximizing the open door frames in the façade brings more natural lighting into the house. Because of the U-shaped stair system, it reduces vertical lighting into the house. Therefore, we create a natural lighting void in the back of the house. This void brings vertical lighting to a small garden on the second floor.  Section The signature of this solution is the void in the back of the house. It changes existing dark closed rooms into bright and lively spaces, in the meantime, it solves the ventilation and lighting matters of the house.  © Quang Trần  This posting includes an audio/video/photo media file: Download Now |
| Posted: 11 May 2018 01:00 PM PDT  Courtesy of Bean Buro
 Courtesy of Bean Buro Text description provided by the architects. Bean Buro was tasked with designing a new workplace for the international British property group, Grosvenor, at the iconic Jardine House building in Hong Kong of approx. 5,000sqft (460sqm), to transform their previous workspace into an innovative workplace that would reflect the company's belief for quality, integrity and social responsibility.  Courtesy of Bean Buro The workplace would be open plan with a proportion of flexible seating with a variety of support spaces. Employees would be able to choose from a variety of work settings within the workplace depending on their needs. Acoustic design, lighting design, and the environmental strategy would be the key drivers behind the wellbeing and sustainable aspects of the project.  Section Bean Buro responded with a poetic design that integrated art with people and space. The narrative involved the research into the history of the site building Jardine House; its historical tea trading activities in the neighbourhood, and the iconic circular windows of Jardine House.  Courtesy of Bean Buro Circular forms were once used in many oriental tea gardens as a symbol of tranquility and nature. The conceptual narrative has driven the design with a series of unique joinery elements, such as the work clusters installed with distinctive circular acoustic panels at each table end, as well as the rounded edging details of the tables in the meeting areas.  Courtesy of Bean Buro The ethos was oriented around people, hence much of the priorities were given to the day to day user experiences. To heighten the sense of community, a formal art gallery was designed at the reception with high quality art that engages with all the employees and visitors.  Plan It featured contemporary art pieces such as Anish Kapoor's Mirror (Black / Green to Cobalt Blue), 2016, and Nam June Paik's Third Eye Television, 2005. The art interventions would engage with people, and these would in turn nurture a better company culture that is driven by the people in the workplace. The narrative of the circles, and circular forms, created a strong identity and a sense of place for the company.  Courtesy of Bean Buro The workplace is fully equipped with human comfort designs for a more productive working environment. Employees from the open plan could choose to work in a variety of spaces, such as the informal focus rooms, phone booths, and pantry cafe. A wellbeing room is provided for relaxation. Each space is designed with lighting control sensors for the optimal lux level and light temperature.  Courtesy of Bean Buro Acoustic solutions are inherent with in the architectural finishes to create a dynamic open plan environment, while ensuring the various meeting areas could achieve the required acoustic separations and absorptions to support a variety of private and open conversations. The visual lighting environment was designed with energy saving systems, while creating a visually legible space in play with a cohesive materials palette.  Courtesy of Bean Buro The biggest success of the project was the way the design aesthetics could overcome budget and time constraints, and ensuring the LEED and WELL criteria could be met to ensure a result that is truly environmentally friendly and human centric for a productive workplace. The project has officially been recognised for WELL™ Gold Level, as one of the first office refurbishment projects in Asia to be recognised with such a rating. It is expected that the project will also imminently achieve LEED certification.  Courtesy of Bean Buro  This posting includes an audio/video/photo media file: Download Now |
| Sky Box House / Garg Architects Posted: 11 May 2018 12:00 PM PDT  © Purnesh Dev Nikhanj
 © Purnesh Dev Nikhanj Text description provided by the architects. The Sky Box house, constructed in a small rectangular 240 sq. meters lot of land, located in the Himalayan foothills, facing towards the north direction, is an architectural outcome guided by three main design aspects – Light, Simplicity and Proportions. The client for the project was a nuclear family with each of the three members involved in different professions, thus, possessing distinctive tastes and preferences.  © Purnesh Dev Nikhanj The architect proposed a design solution which not only complied with the individual requirements of the family, but also stood up defying the time and budget constraints. The house has been designed in consideration with the 'Flow of Energy' concept of Vastu. Another inspiration came from a conception of the Architect F.L. Wright: 'A building should convey a sense of shelter, refuge, or protection against the elements. Its inhabitants should never lack privacy or feel exposed and unprotected.'  Skecth 01 One of the prime concerns of the inhabitants – Privacy, was well taken care of by spatially segregating the private and common spaces of the house, and placing them in the best suited locations governed by factors such as light and air movement. For instance, the floor to ceiling height glass windows facing outside, provided in the first floor bedroom, are horizontally lineated by ledges at cill and lintel to obstruct the direct visibility into the interiors. On the inside, it offers a view of the entranceway and facilitates a plentiful of north light entering the room.  © Purnesh Dev Nikhanj DESIGN:  © Purnesh Dev Nikhanj The 11 feet cantilevered block, emphasizing its prominence in the front façade, serves for a double-height semi-open space. The largesse of this space has been further realized with a play of proportions, by providing full height glass screen which showcases the sculptural sparkling grey metal staircase; gracing the double height volume. The glass screen allows the stairwell to engulf bundles of natural light, which then bathe the interior spaces, such as the main living area, in a balanced light through the cut-outs.  Ground floor plan Shifting of mass in the box allowed for a beautiful effect produced on the left –side wall by the light entering through the horizontal slit, which was collated by a vertical grey band in the middle of the wall. 'Drive way embedded in the garden' was a novel design approach formulated in the front lawn area of the plot, where the paved portion emerged out of the green lawn, which fulfilled the demand for a lush garden in spite of the constricted space. The palm trees embracing both edges of the site at the entrance have been lit up influenced from the glorious palm tree lighting adornments in Dubai.  © Purnesh Dev Nikhanj The main entrance door 7 feet wide and 10 feet high, clad with veneers of vintage teak from Burma, not just appreciated the elegance of the fore frame, but also adhered to the clients' anthropometric requisites. The exquisite hand- grip was made from scrap wood which camouflaged with the door.  © Purnesh Dev Nikhanj A visual continuity of spaces is achieved along the central spine with the rear wall of the house visible from the entrance itself, thus, uniting a sequence of spaces, i.e., the Front garden, Entrance foyer, Hallway, Puja room and the Rear deck through this visual linkage. The well-lit entrance foyer with double – height space uniformly spreads the daylight in every part, adorning it with a welcoming appeal. Functionally, the Puja space has been given a centric placement, and its double–height allows for a continuous cycle of energy flowing throughout the house. The toilets located in the central portion of the house were provisioned with skylights; a peculiar feature as observed in the surrounding context; for penetration of daylight along with appropriate ventilation, thus, developing a connection with the outdoor environment.  © Purnesh Dev Nikhanj The client had put forward a requirement for a shoe-rack spacious enough for a capacity of 75-100 shoes. The under staircase space on the ground floor was utilized for a 3 feet high console made out of HDF wood with lacquered paint finish, making room for around 80 pairs of shoes.  Sketch 03 Ready Mix Concrete (RMC) was used to pace up the construction process for confronting the completion target of 6 months put forward by the client. Another issue of monkeys invading the house had to be dealt with, which was resolved by providing spikes above the compound walls.  © Purnesh Dev Nikhanj Captivation towards the time–honored design styles, client being a native of Rajasthan, directed the strategy for a subtle but elegant lot of material, color and texture selection for the interiors. Ochre toned wood finishes used for the furnishings and Coreal satin walnut veneer finish (imported from USA) for the doors become the cynosure against the neutral backdrop set by white walls and floor. Black galaxy granite used in the kitchen counter and dado area gives the illusion of infinite surface.  This posting includes an audio/video/photo media file: Download Now |
| Designs by Adjaye Associates, BIG, DS+R Released for Adelaide Contemporary Museum Posted: 11 May 2018 11:10 AM PDT  © Adjaye Associates and BVN / Malcolm Reading Consultants Arts South Australia has unveiled 6 designs shortlisted in a competition for the Adelaide Contemporary, a new cultural destination in Australia's fifth-most populous city. The shortlist, which was announced in January, features a star-studded list of international practices, pairing some of Australia's most famous firms such as Woods Bagot, HASSELL, and Durbach Block Jaggers with international names such as Adjaye Associates, BIG, Diller Scofidio + Renfro, David Chipperfield Architects, and Ryue Nishizawa. The Adelaide Contemporary is planned to transform the site of the former Royal Adelaide Hospital (oRAH), and will feature exhibition, research, and education spaces situated in a public sculpture park and community meeting place. The museum will also notably host the Gallery of Time, a first-of-its-kind space to exhibit Aboriginal art alongside art from Europe and Asia, inviting visitors to see Australian art in a global context. The six designs are now being displayed in an online gallery created by competition organizer Malcolm Reading Consultants, and in a public exhibition being held in Adelaide at the Art Gallery of South Australia. Adjaye Associates + BVN © Adjaye Associates and BVN / Malcolm Reading Consultants BIG – Bjarke Ingels Group + JPE Design Studio © BIG – Bjarke Ingels Group and JPE Design Studio / Malcolm Reading Consultants David Chipperfield Architects + SJB Architects © David Chipperfield Architects and SJB / Malcolm Reading Consultants Diller Scofidio + Renfro + Woods Bagot © Diller Scofidio + Renfro and Woods Bagot / Malcolm Reading Consultants HASSELL + SO-IL © HASSELL and SO-IL / Malcolm Reading Consultants Khai Liew + Office of Ryue Nishizawa + Durbach Block Jaggers © Khai Liew, Office of Ryue Nishizawa and Durbach Block Jaggers / Malcolm Reading Consultants News via Malcolm Reading Consultants.  This posting includes an audio/video/photo media file: Download Now |
| CUPA Pizarras Showroom / Iván Cotado Diseño de Interiores Posted: 11 May 2018 10:00 AM PDT  © Héctor Santos-Díez
 © Héctor Santos-Díez Text description provided by the architects. Through the strategic interior design of Iván Cotado, a discipline that fuses interior design and marketing, CUPA decides to create a space in which to receive its clients and generate a memorable experience centered on the essence of the brand. And that this experience accompanies the visitor even after having passed through its facilities. In this case, the showroom concept falls short of the objectives set, which go far beyond the mere sample of materials.  © Héctor Santos-Díez  Floor Plan  © Héctor Santos-Díez The design of the space revolves around an architectural metaphor formed from a cloister. A cloister that invites to "walk" the space in a perimetral and descending way accompanied by screens with presence sensors that show, in the visitor's way, the history of the brand since 1892. In the center of the patio a colossal slate tree, whose ramaje represents the 5 fundamental values of the company in various languages that symbolize its global character: honesty, effort, austerity, vocation of leadership and commitment.  © Héctor Santos-Díez In elements such as the lounge bars, the reception desk or the projection room, the company demonstrates its leadership and the possibilities of its product through its own techniques and patents that push the placement to the limit, investing, in this case, a structure of great weight through the CUPACLAD® system, and presenting an imposing curved slate roof. Finally, a lounge decorated with the corporate color and chaired by a bar of "rachón" gives way to the changing rooms, that intimate place where designers often relax their attention, and in this case is the key piece of the experiential puzzle created by Iván Cotado.  © Héctor Santos-Díez With a view of the mountain from which the slate itself is extracted, the visitor is accommodated in a seat personalized with his name that keeps the safety material that will be used in the visit to the quarries: boots, vest, suit ... In that moment when he puts on his boots while contemplating the mountain, Valdeorras, the origin of everything, the story of Cupa.. At that precise moment the visitor will be able to interpret the message and find for himself the reason for all that.  Sketch Iván Cotado projects a unique, honest and committed experiential space with the values of the brand it represents, whose maximum purpose is not to sell or show a product, but to tell a story, that is what makes it unique. The CUPA Showroom is the perfect support to generate an optimal and memorable customer experience.  © Héctor Santos-Díez  This posting includes an audio/video/photo media file: Download Now |
| Vía Vallejo / Grow arquitectos Posted: 11 May 2018 08:00 AM PDT  © Marcos Betanzos
 © Marcos Betanzos Text description provided by the architects. This mixed-use project has as integration axis the following areas: commercial, residential, health services and a hotel. We decided to make the 3 levels out of plumb and complement it with an important area of public space, an outdoor park surrounded by terraces and restaurants with different specialties.  Floor Plan 1 Plazas and recreational fountains give a particular dynamism to the different areas connected by a walkway with light roofs to make sure visitors are able to enjoy the promenade during the rainy season and enjoy being outdoors most of the year.  © Marcos Betanzos The project seeks to be an alternative space for the zone as well as meeting its housing needs. It offers a wide variety of services and entertainment options both for residents and visitors of this important industrial and commercial core of Mexico City.  Section 2 Pedestrian and vehicular access and large parking lots have been considered as an integral part of this development. Comfort and safety are a priority and the most important goal is that all users enjoy the highest quality of life standards.  © Marcos Betanzos  Section 1  © Marcos Betanzos  This posting includes an audio/video/photo media file: Download Now |
| Historic England Celebrates Postmodernism with 17 New Heritage Listings Posted: 11 May 2018 07:00 AM PDT  Judge Business School / John Outram (Grade II* Listing). Image © <a href='https://commons.wikimedia.org/wiki/File:Cambridge_University_Judge_Business_School_interior.jpg'>Wikimedia user Cmglee</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> Historic England has given protection to 17 Post-Modern buildings through their new listing publication. The bold, playful examples of a critical reaction to Modernism, designed between 1970 and 1990, have been listed to stem losses for the valued architectural style, following a recommendation from the UK government's Department for Digital, Culture, Media, and Sport. The listed schemes vary in terms of location and use, encompassing culture, housing, education, civic, commercial, and law. From Crown Courts in Cornwall and warehouses in Slough to libraries in Cambridge and housing schemes in London, the listings reflect a revived interest in Post-Modernism, which was spurred by the 2011 "Style and Subversion" exhibition at the V&A in London.  Sainsbury Wing at the National Gallery / Venturi, Raunch and Scott Brown (Grade I Listing). Image © Valentino Danilo Matteus Of the 17 listings, 11 are located in the capital city of London, where a strong representation of residential listings are contrasted by civic schemes such as the Sainsbury Wing of the National Gallery, designed by Robert Venturi and Denise Scott Brown. Acclaimed architecture firm CZWG features heavily in the list, responsible for four listed schemes.
 Newlands Quay / MacCormac Jamieson Prichard and Wright (Grade II Listing). Image © <a href='http://www.geograph.org.uk/photo/5763698'>Geograph user Peter Trimming</a> licensed under <a href='http://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> The new listed buildings include two listed at Grade I, the highest rating reserved for buildings of "exceptional interest." Another two are listed at Grade II*, signifying that they are of "more than special interest," while the remaining thirteen buildings are listed at Grade II* meaning that they are of "special interest."  Hillingdon Civic Centre / Robert Matthew Johnson-Marshall (Grade II Listing). Image © <a href='https://www.flickr.com/photos/46867064@N07/4713134588'>Flickr user Conrad Roth</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> The 17 pieces of Post-Modern architecture to be given heritage protection are as follows:
News via: Historic England.  This posting includes an audio/video/photo media file: Download Now |
| W Residence / Furman + Keil Architects Posted: 11 May 2018 06:00 AM PDT  © Casey Dunn
 © Casey Dunn Text description provided by the architects. The W Residence overlooks Lady Bird Lake from the 29th floor of a high-rise in the heart of downtown Austin.  © Casey Dunn  Floor Plan  © Casey Dunn Drawing early inspiration from the work of Italian architect Carlo Scarpa, our team used a series of screens and floating ceilings to define finely crafted spaces inside the confines of the concrete shell of the building.  © Casey Dunn The inherently compressed section of the single floor was reimagined with layers and reliefs, and the space was changed from a completely open "stock" floor plan to a series of more intimate, highly composed spaces.  © Casey Dunn Precise detailing and extraordinary craftsmanship in waxed steel, patinated brass, plaster, travertine, and various woods create a warm, elegant retreat from the bustling urban activity below.  Diagram Sketch  This posting includes an audio/video/photo media file: Download Now |
| Jury Members for the 2018 Venice Biennale Announced Posted: 11 May 2018 04:26 AM PDT  © Andrea Avezzù The Board of Directors of La Biennale di Venezia, upon recommendation from 2018 curators Yvonne Farrell and Shelley McNamara of Grafton Architects, have announced the jury for the forthcoming Venice Biennale. The jury will be responsible for awarding the Golden Lion for Best National Participation, the Golden Lion for Best Participant in the International Exhibition FREESPACE, and the Silver Lion for a Promising Young Participant in the International Exhibition FREESPACE. They will also have the opportunity to award one special mention to National Participations and two special mentions to the participants in the International Exhibition. The international jury consists of the following members:
News via: La Biennale di Venezia
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| 12 Cachagua / Mobil Arquitectos Posted: 11 May 2018 04:00 AM PDT  © Nico Saieh
 © Nico Saieh Text description provided by the architects. TOWNHOUSES. In the center of Cachagua beach town, the project consists of a series of townhouses integrated into the urban life of the neighborhood. To fit with the scale of the context, the building develops towards the slope, with the least possible impact on the street level.  Floor Plan 1  © Nico Saieh BROKEN VOLUME. Two stacked volumes, overlap and break, to follow the natural slope of the site. This movement guarantees sights towards the mountains and the sea. In the breaking point, the building incorporates inner courtyards, that bring light and landscape to the houses.  © Nico Saieh  © Nico Saieh CANTILEVER FACADE. A street-level habitable plinth raises the second volume that becomes a cantilever over the street. A second skin gives privacy to the street level floor and emphasizes the setback. On top of the second volume, rooftops are also a setback to disappear from the façade.  © Nico Saieh Cross Laminated Timber. The main material is CLT, that provides a warm and relaxed atmosphere in the interiors, and a neutral expression on the exteriors, that integrates successfully with the street and the neighborhood.  © Nico Saieh TWELVE. Each unit has two levels, connected through the stairs that travel along the inner courtyard. They are both accessed from the ground floor, but half of them have a second floor on a -1 level and include a garden, while the other half goes up to a +2 and include a panoramic terrace. The complex includes 24 parking spots and a shared swimming pool.  © Nico Saieh  Section  © Nico Saieh  This posting includes an audio/video/photo media file: Download Now |
| Architecture in Limbo: How Technology is Changing the Way We Use "Useless" Space Posted: 11 May 2018 02:30 AM PDT  © Photo by gdtography from Pexels Published in partnership with The Greenhouse Talks, the following essay by Aaron Betsky examines limbo spaces and the opportunities presented by these ambiguous areas.  At first glance, not much. They are spaces with little hierarchy or focus. They often have no boundaries, as they are somewhere between a hallway and a room. Filled with plastic and other human-made materials, they respond not to the body at work or in repose, but to the body at the edge of the chair. They are places of anxiety instead of affirmation. Yet, do they not have a strange beauty? Is there not something that has the quality of the not quite, the almost, the both/and, that makes them full of possibility? Until now, the history of architecture has been bound up with the design of spaces that have a purpose. Buildings are fortresses and palaces, theaters or museums. Architects design rooms so that we can sleep, eat, or work there. The structure of such spaces, as well as their materials and proportions, not to mention how you enter into them, where the light comes from, or what accoutrements they have, is defined by such uses. They are also limited by definition. Certainly, there have always been places in-between. Some of the spaces we love most are porches and verandas, as well as the antechambers where often the real work already happens and where architecture, to introduce itself and its purpose to you, is at its most exquisite. Between inside and outside, one thing and another, they are filled with shadows both real and phenomenal. Here you are not quite in the world and not quite at home, but perhaps open to possibilities. You wait for a connection, for the future, while inhabiting a partial shelter. Over the last few decades, however, the in-between spaces have grown into something different. The roots of limbo spaces lie in the waiting rooms that appeared when public transportation developed, and in the holding places where you had to wait for bureaucrats to see you or take your forms. They also formed out of the cafés and semi-public spaces around stores where you lingered over a coffee, waiting for something or someone to happen. These spaces were also different than, say, the foyers of theaters or the tepid and mist-filled spaces of Roman baths, where you waited, but with a clear social and bodily purpose. In the new limbo space, you just wait.  As such, limbo spaces are the fixed equivalent of the translucent bubbles we carry around with ourselves. We do not so much inhabit either public or private space, but instead remain somewhere between, connected to shared experiences such as music, or chatting in a distanced manner to our networks of friends on social media. In fact, more and more of our time is spent in such a state of semi-distraction and connected disconnection. This architecture enabled by ethereal technology has until now escaped the attention and the classifying abilities of architects. Limbo spaces thus present a two-fold opportunity: on the one hand, we need to look seriously at physical spaces in which we spend more and more time, but which are, on the whole, dreadful; on the other hand, we should see such spaces as prototypes for the next frontier for architectural investigation, beyond the boundaries of site, function, traditional sociality, or physical structure. We can see limbo spaces as the purposeful purposelessness that our new forms of sociality demand. We can be available and withdrawn there at the same time, plugged in and yet in a, if not the, moment. Limbo spaces are both all too real, and thoroughly unreal. They can afford many possibilities even as they sap time and space of its definitions. Can architecture be limber enough to limbo?  The Greenhouse Talks LIMBO SPACE will take place on Friday May 25, 2018 from 9 to 11am at the InParadiso Café, just in front of the Giardini della Biennale. Entrance is free, but due to the limited space it is strongly recommended to register via email at rompcz@minbuza.nl.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 11 May 2018 02:00 AM PDT  © Benjamin Benschneider
 © Benjamin Benschneider Text description provided by the architects. The particular form of Rimrock – a T-shaped structure – responds to the unique typography of the bluff upon which it is situated. At the edge of a cliff, the house straddles two sides of wash atop a stable outcropping of tough, slow-cooled volcanic basalt. The name "rimrock" refers to this type of geological occurrence, with a sheer rock wall at the upper edge of a plateau or canyon. The seam below the house is a natural, preexisting path for animals, who use it to move between the mountains and the river. Even though the house is now here, they can still move unimpeded. The sensitive nature of the landscape, as well as it's unique climatic, solar and seasonal conditions called for careful positioning of the home and consideration of materials.  © Benjamin Benschneider Raising the 5,200 SF house above the wash serves many functions, including preservation of the existing animal path. Knowing that changing wind patterns in the winter can create massive snow drifts, hovering the house above the ground plane allows the use of full-height windows to maximize 180-degree views overlooking Riverside State Park and north Spokane—valley, mountains, forest, river, city—without piles of snow accumulating directly against them. The interior remains open but also protected.  © Kevin Scott / Olson Kundig The resulting design reverses the typical transparency one might expect in a home with a large amount of glazing. The upper portion of the building, which is typically most transparent, is actually more private. The lower portion―the more public family and gathering area―has more transparency and contains a bridge element that spans across the game path. This transparent main level, which consists of the kitchen, dining and living area, mediates between the prospect and the refuge at the edge of the cliff.  © Benjamin Benschneider The upper part of the house is the most private and is less transparent than the lower level with views directed towards tighter vistas. A sense of intimacy throughout the home allows the owner to retreat from what is a spectacular, yet also aggressive environment due to the region's powerful storms, weather patterns and seasons.  © Benjamin Benschneider Tough, durable building materials, mostly mild steel and glass, were used to stand up to harsh environmental conditions and will weather naturally. The steel paneling and structure is 90-95% reclaimed material locally sourced by the owner. There are automatic, seasonally adjusted exterior shades on all windows, which significantly decrease the energy used for cooling. Erosion on the site is prevented by collecting all rainwater runoff from the roof into one dry well that percolates the water slowly back into the groundwater system.  © Kevin Scott / Olson Kundig  This posting includes an audio/video/photo media file: Download Now |
| AD Classics: Suzhou Museum / I.M. Pei + Pei Partnership Architects Posted: 11 May 2018 01:00 AM PDT  © Chenxing Mi As one of the latest built works of acclaimed Pritzker architect I.M. Pei, Suzhou Museum was built in the heart of his hometown, Suzhou, China. As one of the last surviving modernists, the architect strove to bring together both his modernist sensibilities as well as the Suzhou vernacular. Sited on the northeast section of the historic quarter of Suzhou, the museum is adjacent to the landmarked Zhong Wang Fu, a complex of 19th-century historical residences, and the Garden of the Humble Administrator, a 16th-century garden listed as a UNESCO World Heritage site. [1] Images in this article were captured in 2016 by Rome-based photographer, Chenxing Mi. Read the full article after the break.  © Chenxing Mi While the museum carries over many of the geometric and visual elements that characterize Pei's design – squares, rectangles, and pyramids – the design takes cues from traditional Suzhou architecture with its use of whitewashed plaster walls, dark gray clay tile roofs and intricate garden architecture. [1] The undulating folds of geometries, coupled with a palette familiar to the Suzhou region, becomes a unique hybrid that represents the architect's ambition to re-envision the Suzhou and Chinese vernacular in a contemporary context.  © Chenxing Mi Elements such as symmetry, geometry, and focus on lines are shared in both Chinese and modernist traditions. The exterior walls are accented and highlighted with the gray lines that define the figure of the building, much like traditional calligraphy. It calls for a design that is "synthesized into a new language and order, one that is contemporary and forward looking and hopefully one that is a possible direction for the future of Chinese modern architecture." [1]  © Chenxing Mi  © Chenxing Mi The synthesis is also reflected in the overall site design, where the plan features a rectangular layout that wraps around a central water court that features a gazebo in the middle, organized by a central axis of symmetry. Unlike the pronounced and distinct characteristic of Pei's many other landmark projects, the Suzhou Museum chose to be humble and blends itself within the context of the city. In addition, the museum complex maintains rather humble building heights, in accordance and acknowledgement to the historic surroundings. As Pei put it in an interview with New York Times, "In China, architecture and the garden are one. A Western building is a building, and a garden is a garden. They're related in spirit. But they are one in China." [2]  1st floor plan  © Chenxing Mi The plan of the central hall features a dynamic series of geometric folds that begins with an octagonal figure and gradually ascends into the peak of the roof, modulated by triangles, diamonds, and rectangles in between, echoing the folded roofs in traditional architecture while introducing ample amount of natural light into the building.  © Chenxing Mi  2nd floor plan As with traditional Suzhou architecture, the design of the Art Museum is organized around a series of gardens and courts that mediates between the building and its surrounding environment. [1] The water court, when put in context with the extended urban fabric, forms a complete figure that completes the composition. Exhibition halls are organized around a network of cloisters to form an enclosed network that creates privacy and intimacy for the internal courtyard while modulating views. They allude to the "shifting perspective" technique in Song Dynasty landscape paintings and are intended to compel visitors to actively explore through the gardens. [3] The water court is organized and connected by a set of masonry bridges that surround a gazebo at the center, much like the case within a traditional Chinese garden.  © Chenxing Mi The central water court also features a contemporary rendition of garden rocks, echoing its counterparts in Garden of the Humble Administrator next door. The layered nature of these rocks forms a set of nuanced shadows and silhouettes against the white back wall, reminiscent and metaphorical of traditional Chinese ink painting, where abstract mountain peaks overlap against a white piece of paper.  © Chenxing Mi Suzhou Museum is Pei's third project in Mainland China, after the Fragrant Hills Hotel (1982) and Bank of China Headquarters in Beijing (2001). The multi-year design and construction process for the museum was featured on PBS's American Masters documentary series in 2010 in an episode called "I.M. Pei: Building China Modern." [4]  © Chenxing Mi References [1] "SUZHOU MUSEUM." Pei Partnership Architects. http://www.peipartnership.com/projects/type/cultural/suzhou-museum/.
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