Arch Daily |
- Glassell School of Art / Steven Holl Architects
- Egyptian Pavilion at Venice Biennale to Explore How Urban Markets Are Redefining the Concept of "Free Space"
- Lecture Building at the Alioune Diop University / IDOM
- 5 Fin Whale Way / SALT Architects
- Office Environmental Design of Shiyue Media / CUN Design
- The Discalced Barefoot Carmelites Center in Busan / KAGA Architects & Planners
- Zeze Osaka / SWING
- Zhejiang Art Museum / CCTN Design
- Canada Pavilion at 2018 Venice Biennale to Examine Architecture & Restoration of the Canada Pavilion
- Watch Balkrishna Doshi’s Live Pritzker Prize Laureate Lecture
- The Weekn'der / Lazor Office
- Bauman Corporate / Studio Arthur Casas
- OMA Among Winners of Competition for Unicorn Island Masterplan in China
- La Roja / Felipe Assadi Arquitectos
- Last Day for Nominations in ArchDaily's 2018 Refurbishment in Architecture Awards
- Polished Concrete: How It Is Made and What to Consider When Using It in Your Projects
- El Humedal / TAAR / Taller de Arquitectura de Alto Rendimiento
- Rafael Moneo's Beirut Souks Explored in Photographs by Bahaa Ghoussainy
| Glassell School of Art / Steven Holl Architects Posted: 14 May 2018 09:30 PM PDT  © Richard Barnes
 © Richard Barnes Text description provided by the architects. The three-story Glassell School of Art provides state-of-the-art studios and active social spaces within the 93,765-square-foot structure. The BBVA Compass Roof Garden and adjacent Brown Foundation, Inc. Plaza also serve the expanding needs of the school and the unique mix of students of all ages. Sited on two acres, adjoining the Lillie and Hugh Roy Cullen Sculpture Garden designed by Isamu Noguchi, the building replaces the school's 1979 facility. The enrollment of about 7,000 students is expected to grow to 8,500 with the expanded course offerings of the enlarged facility.  © Richard Barnes  Sketch  © Richard Barnes  Sketch The L-shaped building defines two edges of the plaza. Its sloped, walkable roofline, anchored by a stepped amphitheater, extends the plaza up and along the roof to a garden above. The exterior is constructed from 178 unique precast concrete panels that create a rhythm across the exterior surface as they alternate with 170 glass panes that provide natural light to all studios and classrooms. A three-story, broad-stepped forum activates the center of the school's interior.  © Richard Barnes  This posting includes an audio/video/photo media file: Download Now |
| Posted: 14 May 2018 09:00 PM PDT  Souq Aljuma by the Authors As part of our 2018 Venice Architecture Biennale coverage we present the proposal for the Egyptian Pavilion. Below, the participants describe their contribution in their own words. The Egyptian pavilion curated by architects Islam El Mashtooly and Mouaz Abouzaid, and architecture professor Cristiano Luchetti proposes the theme of redevelopment and strategies of requalification of spontaneous commercial spaces across the entire country. The phenomenon of "free", unstructured, often abusive and illegal trading is predominant in many urban and suburban areas. The traditional souk is no longer confined to narrow streets and interstitial spaces of the historical fabric. Indeed, the space of commerce extends its tentacles seamlessly along the lines of urban streams without any apparent rule. The project for the pavilion focuses on these strategic spatialities but also on their content. The trading of Roba Becciah is a large portion of all market activities. Disused items produced and dismissed by consumerist societies are first collected, and then stacked in areas of such dimensions to create mono-functional enclaves for future trading purposes. The Roba Becciah represents for the curators an important metaphor of the anthropological-urban condition of the contemporary world. Therefore, the design of the "urban market" seeks rethinking the role of "free space" within the dense morphological and social fabric of the city. It is a proposal that aims at the upgrading and "governance" of large urban areas allowing a "free use" that contributes to a better living of contemporary metropolises.  This posting includes an audio/video/photo media file: Download Now |
| Lecture Building at the Alioune Diop University / IDOM Posted: 14 May 2018 08:00 PM PDT  © Francesco Pinton
 © Francesco Pinton Text description provided by the architects. The Government of Senegal, financially assisted by the World Bank, decided to start an ambitious plan to improve several universities in the country, commissioning IDOM to carry out the project and site supervision for a new lecture room building for 1,500 students at the University of Bambey, to the West of the country. The plan includes lecture rooms for 50 and 100 students, a 500 seat lecture hall, laboratories, computer rooms and offices for the teaching body, all distributed over an enclosed built-up area of 4,200 m2 and 11,500 m2 of urbanised area.  © Francesco Pinton The city of Bambey, located 120 km west of Dakar and having a population of 20,000, stands out for its peanut and cattle farming. The few urban infrastructures and services are indicative of the poor surroundings and harsh life conditions.  © Francesco Pinton Some unusual starting constraints made us reflect on how to deliver a contextualized architectural response. On the one hand, we had to deal with the extreme climate of the Sahel area, with temperatures during the day reaching between 35ºC and 45ºC during the whole year. For 10 months a year, it is also very dry and between July and September, torrential rain is characteristic, generating a contrasting arid-lush landscape which is unrecognizable between seasons. On the other hand, the shortage of resources in the country is noticeable both in the absence of technology and in the lack of skilled workforce and the limited building maintenance. On top of it all, the existing campus had no sewage system, road network or constant supply of drinkable water or electricity. Lastly, the existing buildings, in very poor conditions, were not in keeping with the expected functionality of a campus.  © Francesco Pinton  Plan  © Francesco Pinton Faced with these circumstances, we planned to respond with a building both simple and repetitive in its construction, of a scale commensurate to the campus, very practical and integrated into the environment whilst generating optimal conditions for protection against the extreme weather. We found inspiration on campus by observing the behaviour of the students. This led us to the idea of reproducing a great tree as a contributor of shelter, which would offer shade, coolness and comfort to its users without energy consumption. We therefore developed the project from its cross-section, providing the building with a large double roof with a metal sandwich panel and insulation on top and a dropped ceiling of mineralised fibres on the inside. In other words, layers of tree branches, with air flowing in between them.  © Francesco Pinton For the south façade, the strategy was different: we created a large latticework, permeable to air, which eliminates any solar incidence towards the interior and acts as a great filter of solar radiation, extreme in this environment, but still allowing enough light through for the interior functional needs. We planted citronella grass in the cavity between the two skins to avoid the presence of malaria-bearing mosquitoes and to freshen up the space. Complementary, the roof is extended into a 10 meter long canopy, covering a wide exterior area, sheltering students when not in class.  © Francesco Pinton The combination of both systems, the double roof and a double-skin façade, having 1 and 3 meter cavities respectively, makes it possible to create a Venturi effect: the heat concentrated on the outer skin of the façade ends up flowing under the roof, eased by the inclination of the latter. This system allows for a high percentage of outside heat to be dissipated while at the same time generating a constant flow of air through the cavity of the building’s envelope.  © Francesco Pinton The result of applying this bioclimatic strategy has made it possible to reduce the interior temperature by 10 degrees, with no energy consumption and with satisfactory interior sunlight conditions.  Section Finally, to solve the lack of sewage networks problem, we incorporated infiltration rafts with vegetation that collect rainwater as well as an activated sludge purification system for waste water, which, once purified, is discharged to the same rafts. The set of rafts is laid out in keeping with the surroundings, as a natural meander, accessible during the dry season and favouring the natural development conditions of native vegetation, avoiding any attempt of growing vegetation that requires maintenance or consumes water.  © Francesco Pinton Lastly, we wanted our project to be sensitive to the social component. For this purpose, we designed a façade made up of blocks with triangular perforations that could be prefabricated in situ by the local unskilled workforce. And so, the 20,000 concrete blocks were built manually on site by means of a stainless steel mould and then air-dried. The construction of the 2,000 m2 of the south elevation lattice employed over a hundred workers from Bambey for 6 months.  © Francesco Pinton  This posting includes an audio/video/photo media file: Download Now |
| 5 Fin Whale Way / SALT Architects Posted: 14 May 2018 07:00 PM PDT  © Lindsay Ray Michael & Kevin Michael
 © Lindsay Ray Michael & Kevin Michael Text description provided by the architects. 5 Fin Whale Way is located in a tranquil coastal village called Kommetjie about 40km south of Cape Town, South Africa. It is halfway down the mountainous Cape Peninsula that juts out into the Atlantic Ocean at the south-western extremity of the African continent. The coastal towns around has an architectural heritage that stems from a combination of Cape Cottage architecture – a domestic form derived from the European medieval "longhouse" tradition, and Victorian architecture – adopted according to the climate and materials available at the time the settlers started arriving from Europe.  © Lindsay Ray Michael & Kevin Michael  Ground Floor Plan  © Lindsay Ray Michael & Kevin Michael The dwelling is a three bedroom single family home situated in a private residential estate in the village. The magnificent coastline, mountains, and fynbos flora provide for a warm, inviting and relaxed atmosphere, no matter what season. This environment was the lens through which the estate's design guidelines were interpreted. The guidelines intend to create an environment inspired by the principles of the Victorian timber beach cottage tradition of the Southern Cape Coast.  © Lindsay Ray Michael & Kevin Michael This resulted in the form giving devices like the double pitch roof, dormers, and lean-to roofs of the building. These are assembled around the primary focus of being connected, firstly to the outside environment - so that one can be at home without regret of having missed out on a beautiful day outdoors - and secondly to people in the community, valuing friendships and togetherness.  Section A The ground floor is one connected space comprised of the living, dining and kitchen areas which are differentiated by their ceilings and the way they receive natural light. Each of these spaces opens up to outside areas, with differing degrees of intimacy. The living area opens entirely to a wrap-around outdoor terrace on the more public front façade. The dining room connects with a smaller outside area, sheltered behind high walls from the neighbors and south-easterly wind, with a fire pit to gather around. The kitchen opens to a narrow strip of outside space serving as a visual extension.  © Lindsay Ray Michael & Kevin Michael The traditional verandah of the Victorian Beach Cottage was developed by constructing a canopy cover of bent stainless steel plate to cantilever 2,5m from the building edge. Timber louvers are fixed underneath at an angle to allow winter sun deep into the living area but block it during summer to keep both external and internal living areas shaded. The first floor contains the main bedroom with its en-suite bathroom. Two north facing dormer windows were installed as bay window seats looking out towards Hout Bay's mountains in the distance and relieving the low ceiling line suppressed by height restrictions to enforce a loft-like upper floor.  © Lindsay Ray Michael & Kevin Michael Looking at it externally, a prominent shape was the result, which in turn was cladded with timber to exude warmth and lightness. The timber cladding, though hinting at the idea of a cottage, was carefully detailed to read as contemporary architecture constructed with currently relevant and available technologies. The two dormer window boxes contribute to this language being constructed of 2,5mm bent stainless steel plate which enables seamless joints and clean detailing.  Section B The structure of the timber cladded first floor is expressed with two deep stone cladded bastion walls, housing the cavity sliding door tracks and concrete columns, one of which extends into the living room forming a backdrop for a floating staircase. The house turns its front towards the street, acknowledging that it does not stand on its own, but with its neighbors form part of the larger context.  North Elevation  © Lindsay Ray Michael & Kevin Michael  This posting includes an audio/video/photo media file: Download Now |
| Office Environmental Design of Shiyue Media / CUN Design Posted: 14 May 2018 05:00 PM PDT  © Ting Wang, Jin Wang
 © Ting Wang, Jin Wang Text description provided by the architects. In recently years, CUN Design has won a number of gold awards globally because of its unique thinking in the creative office environment design, making it become an unexpected force in this field. Especially that one of its projects was the only creative office environment in the world that was awarded as "Best of Year" in US. Through this achievement, an Internet celebrity from the new media industry—Mi Meng asked CUN Design to create a new office for her!  © Ting Wang, Jin Wang After several times of communication, CUN Design made friends with Mi Meng and her excellent team, and they found it was very interesting that most of Mi Meng's staffs are from the post-95s generation, and they don't treat their boss as a boss, but a friend. Therefore, we did not treat Mi Meng as our client, but instead, we took her friends' demands as hers.  © Ting Wang, Jin Wang Nowadays, the Internet is developing extremely fast and mobile interconnection is penetrating through our lives! "Office" must not be a working space that just has several tables and computers! So that the following is the method and thinking in this design:  Plan Fuzzification  © Ting Wang, Jin Wang Receptiveness  © Ting Wang, Jin Wang However, some special requirements were also the most difficult parts, such as in Mi Meng's office, and how to arrange the entrance, sharing area and the lobby orderly became the key point of CUN Design's research. At last, CUN Design used a rest cabin to arrange the front area of the office. And a hill-shaped sharing area was created through the difference of height in the front area. The top-shaped reception desk links the ceiling and the floor, enhancing its function. The logo on the ceiling strengthens the company's temperament through its pattern. CUN Design paid more attention to its receptiveness to different people!  © Ting Wang, Jin Wang  © Ting Wang, Jin Wang Melting and Refreezing  © Ting Wang, Jin Wang When doing the space design, CUN Design did not simply design a beautiful space, but more importantly, they did more work and deeper thinking in the behind, so that they can achieve some new space forms that will be more suitable for the present, more suitable for the owner, and that are more vibrant and have more possibilities.  © Ting Wang, Jin Wang This is the foundation of design, and through which the space can have unique temperament and characteristics. Therefore, this space belongs to Mi Meng and her young staffs. It is accurate and special, and more importantly, it's full of variability. All of these came from CUN Design's abandonment of experience. They melted functions and modules and then refroze them into a new thing. For example, CUN Design melted the letters of the LOGO to make them become partitions, and melted and recombined the sharing area and rest cabin, and melted the front desk and the sharing area and refroze them into Mi Meng's space. They melted the interactive zone, entertainment area and mobile office and froze them into two bamboo office camps! They melted the small meeting rooms and brainstorm areas and refroze them into two working capsules! These will bring more efficiency and new experience to the office environment! The melting and refreezing method brings us a lot more possibilities!  © Ting Wang, Jin Wang Young People in the New Media Field  © Ting Wang, Jin Wang The space and people look similar, but design may bring completely different relationship between people and space, new production efficiency and new company culture. CUN Design was very grateful that the young staffs allowed them to finish this project together. Mi Meng loves to eat, and it's said that she keeps storing snacks since her friends often eat them up secretly. Yet she is very happy! Maybe she deliberately wants them to put on weight! If this is true, what a clever boss she is.  © Ting Wang, Jin Wang CUN Design hopes that Mi Meng and her friends can create more excellent content in this space, after all, Cui Shu's wife is Mi Meng's loyal fan! CUN Design focuses on the research and thinking in the office space design in several industries. Meanwhile, it will share the trend and idea of the new office every year.  © Ting Wang, Jin Wang  This posting includes an audio/video/photo media file: Download Now |
| The Discalced Barefoot Carmelites Center in Busan / KAGA Architects & Planners Posted: 14 May 2018 03:00 PM PDT  © Yoon Joonhwan
 © Yoon Joonhwan Text description provided by the architects. The Catholic Busan Barefoot Carmelites is a group of around 300 Busan based catholic church members who voluntarily study Catholic doctrine. The present project is its hall. The budget was limited, as the costs of purchasing the site and constructing the building had to be covered by the members alone. They did not receive any funding from the Busan diocese. The head priest does not live on the site, simply leading mass during gatherings, and the chapel plays the role of an auditorium for group learning activities for the members rather than serving as a central space of worship for mass.  Axonometry Three different classes congregate once a month, and these groups also meet sporadically in smaller groups for additional learning activities. The project is composed of a chapel, which serves as an auditorium for group meetings, and eight small classrooms that can accommodate around ten people each for small group learning activities, as well as an office and meeting room, a book cafe for the members to interact, and a room for the guiding priest to reside for the three days a week of gatherings.  © Yoon Joonhwan  © Yoon Joonhwan The project began by reinterpreting the nature of the site, the inclinations of the group members and the main objectives of the gatherings. The site, in its irregular form, is situated in an old agricultural village, at a level approximately 1m lower than the adjacent road. The site originally featured a wooden-structured detached house with a large courtyard. The site's surroundings used to consist mainly of red brick buildings, representative of tranquility often observed in the countryside village, but recently several storage centers and factories have begun to appear. The village also expressed their displeasure at accommodating the religious facility within its boundaries.  © Yoon Joonhwan The project demanded a certain degree of isolation from its neighbours, raising the issue of communication forward -a trait that is not too dissimilar to the character of the Carmelites group. The main objective of studying religious doctrine is represented through a space of silence, and it was necessary to consider noise pollution. Moreover, the members of the group are mainly retired and elderly, making accessibility and easy mobility a priority.  © Yoon Joonhwan  Second floor plan  © Yoon Joonhwan Foremost among the design concerns, with concrete moulds used to construct the reinforced walls, a rough curving concrete outer wall was composed by following the lines of the site. The original form of the exposed concrete wall, with its triangular ribbed pattern, accentuates the existing light once again so that the form in itself yields a sense of beauty. By installing a sloping path adjacent to this wall, an evolving space was composed to reflect a sense of consideration for the elderly. Following the slope upwards, one discovers a spacious deck 'madang' facing the south; a meeting space. the courtyard is a space that serves to connect an evolving space (internal courtyard) with a space of silence (the chapel), to absorb any expansion of the latter.  © Yoon Joonhwan The internal space has been separated between the territories of a central auditorium and educational spaces. and the open stairwell with its skylights continues on to the classrooms on the third floor. The natural decks that guard the users' right to sunshine and empty spaces here and there provide a leisurely atmosphere and pace, serving as an interface to the project's surroundings. The circulation has been composed to repeat sequences of light and darkness, interior and exterior, making a variety of spatial experiences possible. The chapel has been finished with pine board exposed concrete and almost white, light grey exposed concrete slabs, in response to the light that enters through the skylights. The coldness of the neutral concrete subsides due to the chapel furnishing and the rosy light that enters through the 'hanji' window frames.  © Yoon Joonhwan Considering the relatively high number of small-scale detached houses in the surrounding area, efforts were made to economize on the volume of the project. The height was agreed upon so as to not exceed the average height of its neighbours. The repeated use of the etching glass and transparent glass creates a sense of rhythm, and it is this device that also establishes an appropriate sense of distance when viewed from the road. The outer-wall was planned to create a sense of harmony with the project's surroundings, as well as to evoke the nature of a religious facility. The wall takes on a central role, in addition to the planted creeping ivy. It is hoped that this, along with the brick selected by examining the materials of the surrounding buildings, will become a part of the village with the passing of time.  © Yoon Joonhwan The pure cube form of the project was emphasized by using only the length-wise brick laying method, so that the structure of the ornamental brick would not be revealed, while the colour and depth of the joints were modified to diminish the overpowering sense of the project's volume. The individuality of each of the bricks is revealed. This was intended to function in the same way as the former project, with the finishing of the project or the internal spatial composition expressed as simply and modestly as possible. The tranquil light that glints through the etching glass window onto the classroom's outer walls can also be read as a message pertaining to the social contributions promised by the serenity of the Discalced Barefoot Carmelites.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 14 May 2018 01:00 PM PDT  © Eiji Tomita
 © Eiji Tomita Text description provided by the architects. This share house with eight bedrooms is located in a residential area in Osaka city. With this project, our main objective was how well we could create a plenty space that was prolific yet blended with daily sceneries within an area less than 100m2.  © Eiji Tomita  Sections  © Eiji Tomita One of the most important elements in share house projects is to have spaces that cannot be experienced in a studio apartment, so we thoroughly considered our approach to the height of each room, as well as making the most of its floor space.  © Eiji Tomita Our image for the shared house was that it should be a festive space in everyday life, where the "ordinary and extraordinary" blend into that space having both "individual and common" features.  © Eiji Tomita We made sure to keep an appropriate height for each space, by considering the balance between the appropriate space for the bedrooms and an open feeling for the shared living room. The look through the mezzanine to the "borrowed scenery" of the trees lining the street from the window secures a place with an open feeling within the high-density city.  Ground Floor Plan In designing, we assign the highest importance to the idea that this is a house with eight different lives brought together. We believe that we've created a unique but comforting feeling of sharing the whole of a carefully-made space within a community.  © Eiji Tomita  This posting includes an audio/video/photo media file: Download Now |
| Zhejiang Art Museum / CCTN Design Posted: 14 May 2018 12:00 PM PDT  External view. Image © Li Yao
 the central hall with light and shadow movements. Image © CCTN Design Text description provided by the architects. The Zhejiang Art Museum boasts a superb natural environment, nestled comfortably near the banks of the beautiful West Lake at the foot of the verdant Yuhuang Mountain. The museum's design sought to find the synesthesia between Chinese calligraphy, ink paintings, the traditional architecture of the wider Jiangnan region (south of the Yangtze River), and classical Western sculpture, so as to achieve a harmony and unity of the natural and human environments, with modern aesthetic ideas.  Panorama. Image © CCTN Design  elevations  Main entrance. Image © CCTN Design The mass of the architecture is spread out along the shape of the mountain and extends gradually to the lake so that the rhythmic rising and falling profile of the building stretches in concert with the mountain, and merges into the background of the natural environment.  Linear light corridor. Image © CCTN Design The black-colored roof components stand in contrast to the pale-white wall, and the construction technique of using multiple alternating sloping crests seems to subtly express Jiangnan architectural features, in a delicate space between likeness and unlikeness, where the cultural quality and meaning of Jiangnan culture is unveiled as if in an ink painting.  Interior views. Image © CCTN Design  ground floor plan  Entrance Garden. Image © CCTN Design Meanwhile, the structure still manages to retain an aesthetic sense of modernity and sculpturalism by using steel, hollow laminated glass, stone, and other modern materials; by applying modern techniques; and through the use of the transitional pyramidal roofs in alternating patterns, gently clashing with the horizontal blocks of the architecture.  sunken plaza. Image © CCTN Design The museum is located between Yuhuang Mountains and West Lake with scattered landscapes; the museum is built by people, yet it looks like a splendid work of nature. Poised like a modern ink painting that has been accomplished with a single stroke, the Zhejiang Art Museum expresses the modern Chinese aesthetic within the narrative context of Jiangnan's misty rain scenery.  Illuminated central hall. Image © CCTN Design White walls, black tiles and interlaced slant roofs make a color contrast with black and white, showing a kind of Chinese southern cultural charm. Modern materials and techniques, and a modern aesthetic orientation serve to express the individual cultural characteristics of Jiangnan architecture.  Roof details. Image © CCTN Design Jiangnan in misty rain–The artists sought for a synthesis of Chinese calligraphy, ink paintings, sloping crests, the local natural environment, and Western abstract sculpture. Hills shrouded in mist: both the poetic and picturesque are united through the modern Chinese aesthetic ideal.  Modern materials and techniques and a modern aesthetic orientation serve to express the individual cultural characteristics of Jiangnan architecture. Image © Li Yao  This posting includes an audio/video/photo media file: Download Now |
| Canada Pavilion at 2018 Venice Biennale to Examine Architecture & Restoration of the Canada Pavilion Posted: 14 May 2018 09:00 AM PDT  Canada Pavilion 1957 or 1958. Photo: NGC As part of our 2018 Venice Architecture Biennale coverage we present the proposal for the Canada Pavilion. Below, the participants describe their contribution in their own words. After close to 60 years of exhibitions featuring the work of some of Canada's most celebrated artists and architects, the Canada Pavilion in Venice, Italy is undergoing a major, $3-million restoration. The designated heritage building is an important architectural landmark in the Giardini di Castello, the traditional site of the International Art and Architecture Exhibitions of La Biennale di Venezia. The restoration work, suspended during the 57th International Art Exhibition (2017), has resumed after the closure of Geoffrey Farmer's installation, "A way out of the mirror." The historic restoration project, initiated by the Gallery in 2014, is being carried out by the Milanese architect Alberico Barbiano di Belgiojoso, son of one of the partners of studio architetti B.B.P.R. (Banfi, Belgiojoso, Peressutti, Rogers), working in close cooperation with Venice-based architect Troels Bruun of M+B Studio and Canadian architect Gordon Filewych of onebadant. Restored to its original 1957 design with functional upgrades, the Canada Pavilion will be officially unveiled on May 26, 2018 at the 16th International Architecture Exhibition, on the occasion of the 60th anniversary of its inauguration.  Canada Pavilion 1957 or 1958. Photo: NGC Canadian landscape architect and Order of Canada recipient, Cornelia Hahn Oberlander, and Bryce Gauthier of Enns Gauthier Landscape Architects are also working in partnership with La Biennale di Venezia and the Venice Superintendent for Architectural Heritage on the redesign and replanting of the landscape surrounding the Canada Pavilion. This has been undertaken and financially supported by la Biennale within the context of a larger Giardini di Castello renewal project begun in 2013. The site now features a new pathway behind the Canada Pavilion and a platform overlooking the Laguna Veneta, while also providing an expanded space that can accommodate performance and artistic interventions.  Canada Pavilion 1957 or 1958. Photo: NGC During La Biennale 2018, the Canada Pavilion will feature the exhibition, "Canada Builds/Rebuilds a Pavilion in Venice", which will offer an unprecedented analysis of the context in which one of Italy's most important architectural firms of the post-war era was commissioned by the National Gallery of Canada to design and build Canada's pavilion. The exhibition will also offer a study of the building's notable modernist architecture, as well as depictions of key moments in its sixty-year history.  Canada Pavilion restoration, Spring 2017, National Gallery of Canada, Ottawa. Photo: Francesco Barasciutti  Canada Pavilion restoration, Spring 2017, National Gallery of Canada, Ottawa. Photo: Francesco Barasciutti Organized by the National Gallery of Canada and under the Curatorial direction of Réjean Legault, Associate Professor at the École de design of the Université du Québec à Montréal and former head of the Study Centre at the Canadian Centre for Architecture, the exhibition forms part of a larger endeavour that includes a publication and short documentary film, (scheduled for release in January 2019), and videos featuring first-hand accounts from the Italian and Canadian participants in this important restoration project. The short films and videos are produced in collaboration with the National Film Board of Canada. Funding for the restoration project has been provided by the National Gallery of Canada's Distinguished Patron and Founding Secretary of the Society for the Study of Architecture in Canada, Reesa Greenberg. The project has benefitted from the exceptional collaboration of La Biennale di Venezia, the Venice Superintendent for Architectural Heritage, the Royal Architectural Institute of Canada, as well as support from Global Affairs Canada.  Canada Pavilion 1957 or 1958. Photo: NGC  This posting includes an audio/video/photo media file: Download Now |
| Watch Balkrishna Doshi’s Live Pritzker Prize Laureate Lecture Posted: 14 May 2018 08:50 AM PDT  Courtesy of VSF Balkrishna Doshi, the 90-year-old architect who became the first ever Indian winner of the architecture world's most prestigious award earlier this year, will present his Pritzker Prize Laureate Lecture entitled "Paths Uncharted" on Wednesday 16th May at 6:30 pm ET. The event is hosted by The University of Toronto's John H. Daniels Faculty of Architecture, Landscape, and Design, at the school's new home in the Daniels Building at One Spadina Crescent. The lecture will be one of the first events at the new building and marks the 40th anniversary of the Pritzker Prize. 2018 will also be the first year that the award is presented in Canada. Though it sold out within minutes of tickets becoming available, the lecture will be available for all to watch via a live stream offered by U of T Daniels. Tune in to this page at 6:30 pm ET on Wednesday (11:30 pm GMT / 4:00 am Thursday in India) to watch the lecture online. And, while you await the lecture on Wednesday, check out our previous coverage of Doshi's Pritzker Prize win below: Balkrishna Doshi Named 2018 Pritzker Prize Laureate Who is Balkrishna (B.V.) Doshi? 12 Things to Know About the 2018 Pritzker Laureate 7 Projects You Need to Know by 2018 Pritzker Prize Winner B.V. Doshi "Doshi": Documentary Explores the Pritzker Prize-Winning Career of A Modern Indian Architect  This posting includes an audio/video/photo media file: Download Now |
| Posted: 14 May 2018 08:00 AM PDT  © George Henrich
 © George Henrich Text description provided by the architects. Week'nder opens and closes, its façades shifting from dark and opaque to light and transparent as you walk around it. The design and construction of this weekend getaway were driven by its island site: two prefabricated modules fit on trucks to come over by ferry, posts minimized foundation concrete, and bottle jacks eliminated the need for a crane. Containing the kitchen, three bedrooms, two bathrooms, laundry, and all of the infrastructure, these parallel modules set a datum line above which the gabled roof of a shared, site-built "dry space" rises like a tent.  © George Henrich Materials at hand—plywood, pine, and corrugated and smooth metal—lend the cabin a rustic feel balanced by a precise coordination of colors and textures. Nature drifts in along a gradual entry walkway punctuated with a screen of thin wood posts. A screen porch extends one module, offering a unique view into the woods. Floor-to-ceiling windows open the main living space to the cabin's surroundings at either side.  Floor Plan An open plan unites the array of surface qualities that animate the exterior, clarifying their connection. Between the module walls and the cathedral ceiling, clerestory windows bring in the light. A fireplace and counter rise up from the wood floor while the white-walled kitchen and sleeping bunks are carved from the plywood modules. Continuing out from the thickened bedroom walls, metal window fins are white inside so the bunks are filled with glowing light.  © George Henrich  This posting includes an audio/video/photo media file: Download Now |
| Bauman Corporate / Studio Arthur Casas Posted: 14 May 2018 06:00 AM PDT  © Fernando Guerra | FG+SG
 © Fernando Guerra | FG+SG Text description provided by the architects. Located in Jardins, a high-class neighborhood of São Paulo, the intervention in Jaú Building can be classified as a “retrofit”, or a requalification of its pre-existing structure. The original design dates back to 1965. Its was abandoned with just structure and envelopment finished.  Site Plan Bauman, a construction company, bought the building and in 2012 proposed to Studio Arthur Casas a renovation of its façade and the interior completion, now adapted for a commercial use.  © Fernando Guerra | FG+SG The building has the ground floor, 16 typical floors and a rooftop terrace. The original layout remained almost the same, with only a few changes. The most drastic intervention was the addition of a new underground pavement (3, in total). Moreover, the toilets were brought near to the vertical circulation areas.  © Fernando Guerra | FG+SG Although those modifications are products of a change in the use of the space, it allows greater flexibility in the floor occupancy by other groups and offices.  © Fernando Guerra | FG+SG  Ground Floor Plan  © Fernando Guerra | FG+SG The main concern was to get away from the conventional corporate building language, known by its mirrored glass and impersonal environment. Welcoming and receptive areas were designed, appropriating itself from the residential elements in the original layout.  Section Balconies were incorporated into the new building proposal, an atypical act that evokes the idea of a house environment. The ground floor has a water mirror that starts at the access and extends itself to the meeting room, at its end, where armchairs and coffee table set the space and remind a comfortable living room.  © Fernando Guerra | FG+SG Glass panels ensure the abundant entrance of natural light and huge sliding wooden doors give privacy to the room.  © Fernando Guerra | FG+SG The façade concept was to give dynamicity to the building and eliminate the abandoned raw concrete aesthetic, present for more than 50 years. Horizontal brises in brown color and illuminated niches create a visual set of light and shadow and give movement to the composition.  © Fernando Guerra | FG+SG The terrace on the 17th floor uses transparent materials to soft the roof structure, with a glazed balcony rail.  This posting includes an audio/video/photo media file: Download Now |
| OMA Among Winners of Competition for Unicorn Island Masterplan in China Posted: 14 May 2018 05:00 AM PDT  Courtesy of OMA OMA has been announced as one of four firms to win an international competition for the design of Unicorn Island in Chengdu, an "innovative masterplan specifically designed for New Economy companies." As China moves from a production-orientated economy to a knowledge and service-based economy, the masterplan seeks to provide a variety of working and living conditions for both start-up firms and "Unicorn" companies, those with a value of over one billion US dollars. Along with OMA, the four winners also included Morphosis, who were recognized for their walkable scheme integrating business, green infrastructure, and lifestyle.  Courtesy of OMA  Courtesy of OMA The OMA scheme organizes the island into three rings. At its heart, a "Living Lab' will offer visitors the opportunity to observe the New Economy in action, while also functioning as an "Innovation Engine" for resident companies. The "Weave Zone" village development branches out from this core, offering a mixed-use program of housing, offices, and amenities. The island's perimeter hosts the headquarters of Unicorn companies, intended to "blossom at the outer circle of the weave along the waterfront."  Courtesy of OMA  Courtesy of OMA In the competition commissioned by the Chengdu Government, OMA collaborated with traffic consultants MIC and climate engineers Transsolar. The scheme represents a step forward in OMA's engagement with workspaces for the digital industry with previous schemes including the Axel Springer Headquarters in Berlin.  Courtesy of OMA  Courtesy of OMA The scheme also represents the latest statement of intent by Chengdu to become a technological hub, announced only weeks after Aedas unveiled a mixed-use "Cloud City" masterplan for the development area. News via: OMA Correction update: This article originally stated that OMA were the only winners of the competition. It has since been changed to clarify that OMA was one of four firms to be selected as winners.  This posting includes an audio/video/photo media file: Download Now |
| La Roja / Felipe Assadi Arquitectos Posted: 14 May 2018 03:40 AM PDT  © Fernando Alda
 © Fernando Alda Text description provided by the architects. La Roja is a small house, consisting of 87m2 distributed on two floors. Its shape arises from a solid cube and the subtraction of part of its mass, to generate a double height entrance terrace and the roof slopes. The house is located in a mountain area of a sparsely urbanized context that seems rural. It is a low-density area, with plots around 5,000 m2; therefore the houses are isolated, with no visual contact between them.  © Fernando Alda Although the house was built on site, its dimensions are designed to allow for prefabrication. Each floor is composed, in this case, of the sum of two 840 x 350 modules. Each of the four modules of the house can be transported on trucks and assembled on site with cranes. Similarly, its symmetry allows for the addition of further programs to the sides, either on the lower or upper floors, joined through the corridor located on the side of the staircase.  © Fernando Alda The intense green of the surroundings suggests a complementary color, to activate the relationship between the landscape and the project through contrast. Hence the choice of pure red for the facades, which, by the way, is quite common in the homes of neighboring towns.  © Fernando Alda  Section A  © Fernando Alda  This posting includes an audio/video/photo media file: Download Now |
| Last Day for Nominations in ArchDaily's 2018 Refurbishment in Architecture Awards Posted: 14 May 2018 02:45 AM PDT  This year, in partnership with MINI Clubman, we are launching a special award that highlights the best refurbishments of buildings and spaces from around the world. Alongside MINI, we have decided to promote this category in the belief that one of the most sustainable ways to develop architecture now is through the recovery of existing structures. From urban renovations to new uses for former factories, or even simply giving new life to an old house, refurbishment projects demonstrate the flexibility of our existing cities and the many scales at which old buildings can be repurposed. As in our Building of the Year Award, we entrust our readers with the responsibility of rewarding the best refurbishment projects in architecture—the designs that have had an impact on our profession. By voting, you are part of an impartial and distributed network of professionals who act as a jury to choose the most relevant works of the last eight years. Over the next 3 weeks, the collective intelligence of our audience will filter more than 450 projects to select 3 winners representing the best of architecture refurbishment published on ArchDaily. This is your chance to reward the architecture you love—make your nomination for the Refurbishment in Architecture Award..jpg?1525093820 "iD Town by O-office. Image © Laurian Ghinitoiu") iD Town by O-office. Image © Laurian Ghinitoiu The ProcessDuring the next 3 weeks, you’ll be in charge of nominating buildings to create a fifteen projects shortlist, and then voting for 3 winners. We will guide you through these stages accordingly. During the nominating stage, each registered user of the My ArchDaily platform will have the chance to nominate one project per day (published between January 1st 2017 and December 31st 2017). This stage starts on May 2nd and ends on May 14th at 10:00AM EST. After this, Fifteen projects will move into the voting stage, starting May 15th and ending on May 21st at 10:00AM EST. The winners will be announced on May 22nd, 2018.  Moritzburg Museum by Nieto Sobejano. Image © Laurian Ghinitoiu Eligible Projects
 Moritzburg Museum by Nieto Sobejano. Image © Laurian Ghinitoiu First stage: Nominations
.jpg?1525093401 "Shed #19 by Andrea Oliva Architetto. Image © Laurian Ghinitoiu") Shed #19 by Andrea Oliva Architetto. Image © Laurian Ghinitoiu Second stage: Voting
.jpg?1525094402 "iD Town by O-office. Image © Laurian Ghinitoiu") iD Town by O-office. Image © Laurian Ghinitoiu How to Nominate and Vote
http://boty.archdaily.com/mc/2018.jpg?1525093387 "Shed #19 by Andrea Oliva Architetto. Image © Laurian Ghinitoiu") Shed #19 by Andrea Oliva Architetto. Image © Laurian Ghinitoiu Winners
Timeline
 Moritzburg Museum by Nieto Sobejano. Image © Laurian Ghinitoiu Important notes
_(1).jpg?1525094378 "iD Town by O-office. Image © Laurian Ghinitoiu") iD Town by O-office. Image © Laurian Ghinitoiu  This posting includes an audio/video/photo media file: Download Now |
| Polished Concrete: How It Is Made and What to Consider When Using It in Your Projects Posted: 14 May 2018 02:30 AM PDT  LIEVITO - Gourmet Pizza and Bar / MDDM STUDIO. Image © Jonathan Leijonhufvud Polished concrete is a versatile material that is easily customizable in its appearance, using stunning aggregates, quartz, and colors to create a sense of industrial sophistication in both homes and commercial buildings. Its reflective surface creates an evocative quality under light, which can be suitable for a variety of programs. While still mainly used as a material for interior flooring, architects have been pushing the limits of polished concrete for years, using it for feature walls, patio floors and even large exterior panels such as in David Chipperfield's extension to the Saint Louis Art Museum. Polished concrete can be created in a variety of ways, from the least expensive "grind and seal" method to honed concrete, which uses a penetrating sealer to create a reflective surface. Mechanically polished concrete is the type usually used in commercial projects, as it is long-lasting and more durable under heavy foot traffic. It is created by applying a chemical hardener that densifies the porous concrete, and then grinding it to the desired gloss and smoothness. Using a series of progressively fine tools (similar to the process of sanding wood), the concrete can be ground to 800, 1500 or 3000 grit level. Another consideration is the concrete's "exposure level"—that is, the amount of the original surface which is ground away and thus how much of the aggregate material is exposed. One of the main selling points of polished concrete is how easy it is to maintain. Its smooth, hard surface makes it easy to clean, as well as durable and hard to damage. Although concrete can be prone to cracking through moisture and the building settling, patching materials can disguise these cracks. Polished concrete is also very versatile, and is customizable thanks to the option to use a variety of finishes, and different aggregates and cement colors in the concrete itself. It can be created to mimic different materials, such as stone and ceramic tiles while being lower-maintenance and more durable. Colors are usually mixed into the concrete before the slab is placed, but can also be applied with dye, stain, or waterproof paint afterward. Patterns can also be carved into the surface while the concrete is setting in order to create a faux tile effect. In terms of sustainability, polished concrete can be seen as a "green" material as it makes use of the existing floor slab without the use of any extra material. It also works as an effective thermal mass, retaining heat in summer and keeping cool in winter. However, concrete has a higher carbon footprint associated with its production compared to other materials such as timber and steel. Cost-wise, polished concrete has a broad price range depending on the refinement of the finish. However, its long life and low-maintenance means that it is more cost-effective than polished floorboards or quality floor tiling. Below are some examples of how it can be effectively used in architectural projects: The Apple Store / pH+ The Apple Store / pH+. Image © Tim Soar  The Apple Store / pH+. Image © Tim Soar Concrete 0023 / studio eight twentythree Concrete 0023 / studio eight twentythree. Image Courtesy of studio eight twentythree  Concrete 0023 / studio eight twentythree. Image Courtesy of studio eight twentythree The Wolf House / Wolf Architects The Wolf House / Wolf Architects. Image © Dave Keluza  The Wolf House / Wolf Architects. Image © Dave Keluza LIEVITO - Gourmet Pizza and Bar / MDDM STUDIO LIEVITO - Gourmet Pizza and Bar / MDDM STUDIO. Image © Jonathan Leijonhufvud  LIEVITO - Gourmet Pizza and Bar / MDDM STUDIO. Image © Jonathan Leijonhufvud Brick House / Clare Cousins Architects Brick House / Clare Cousins Architects. Image © Shannon McGrath  Brick House / Clare Cousins Architects. Image © Shannon McGrath Urban Man Cave / Inhouse Brand Architects.jpg?1525869515 "Urban Man Cave / Inhouse Brand Architects. Image © Riaan West") Urban Man Cave / Inhouse Brand Architects. Image © Riaan West Kristalia New Headquarters / Sandro Burigana Kristalia New Headquarters / Sandro Burigana. Image © Paolo Contratti - Contratticompany Srl  This posting includes an audio/video/photo media file: Download Now |
| El Humedal / TAAR / Taller de Arquitectura de Alto Rendimiento Posted: 14 May 2018 02:00 AM PDT  © Rafael Gamo
 © Rafael Gamo “El Humedal (The Wetland)” is an environmental research facility that tries to re-shape the relationship between human beings and their environment in a way that it becomes reciprocal in all aspects.  © Rafael Gamo  Program + Section  © Rafael Gamo The research center analyses, documents and processes everything that comes from the edible forest and orchard in order to gather knowledge about the benefits of this ecosystems and its vast resources.  Axonometric This project was conceived under the no-waste and net-zero principles, which means that the building generates a 100% of the resources that it needs to operate and does it in a closed loop.  © Rafael Gamo  © Rafael Gamo El Humedal features an edible forest, a constructed wetland and an organic orchard; it can harvest 130,000 liters of rain water for internal use; it can treat sewage water through biological powered treatment plants; it generates compost from human feces and forest pruning; it uses thermos-solar panels to warm water and photovoltaic panels to generate all the electricity it needs to operate.  Passive Irrigation Plant  © Rafael Gamo  Bioclimatic Section The architectural design is place based reflecting local culture, it uses a high percentage of local and recycled materials that are harmless to humans and the environment, that were selected for their thermal and esthetical characteristics.  © Rafael Gamo  This posting includes an audio/video/photo media file: Download Now |
| Rafael Moneo's Beirut Souks Explored in Photographs by Bahaa Ghoussainy Posted: 14 May 2018 01:00 AM PDT .jpg?1525882270 "© Bahaa Ghoussainy") © Bahaa Ghoussainy When Spanish architect Rafael Moneo won the Pritzker Prize in 1996, the jury identified his ability to see buildings as lasting built entities—their lives extending beyond architectural drawings—as integral to his success. The South Souks, Moneo's 2009 project in Beirut, Lebanon, indeed responds to a long history and anticipates a lasting future. After the city's historic souq (outdoor marketplace) was destroyed during the Lebanese Civil War, developer Solidere began rebuilding the commercial area in 1991. As part of the project, Moneo designed an arcaded shopping district that follows the ancient Hellenistic grid and retains original street names. Photographs of Moneo's building by Lebanese architectural photographer Bahaa Ghoussainy reveal both the historical grounding of the space and its clear modernity. Light-imbued images feature blurred visitors as they move fluidly between outdoor and indoor commercial space, just like they would have in the original souq. Others frame Moneo's building in contrast with its older surroundings; as his sleek new facade breathes modernity into the historic quarter, its palette and scale nonetheless mimic and respect existing structures. .jpg?1525883135 "© Bahaa Ghoussainy") © Bahaa Ghoussainy .jpg?1525882197 "© Bahaa Ghoussainy") © Bahaa Ghoussainy .jpg?1525883247 "© Bahaa Ghoussainy") © Bahaa Ghoussainy .jpg?1525882808 "© Bahaa Ghoussainy") © Bahaa Ghoussainy .jpg?1525882885 "© Bahaa Ghoussainy") © Bahaa Ghoussainy .jpg?1525882762 "© Bahaa Ghoussainy") © Bahaa Ghoussainy .jpg?1525883790 "© Bahaa Ghoussainy") © Bahaa Ghoussainy .jpg?1525882998 "© Bahaa Ghoussainy") © Bahaa Ghoussainy .jpg?1525883619 "© Bahaa Ghoussainy") © Bahaa Ghoussainy .jpg?1525882506 "© Bahaa Ghoussainy") © Bahaa Ghoussainy Courtesy of: Bahaa Ghoussainy.  This posting includes an audio/video/photo media file: Download Now |
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