Arch Daily |
- Beronia Rueda Winery / IDOM
- Francisco Sanin and Lim Jaeyong appointed as co-directors for the 2019 Seoul Biennale
- Renier Chalon / MAMOUT architects + AUXAU - Atelier d’architecture
- Music School / BAROZZI VEIGA
- Seoul Coffee / LABOTORY
- Chonburi Sila House / Anghin Architecture
- The Murray / Foster + Partners
- Space Lee Ufan / KAGA Architects & Planners
- Mean Noodles / OpenUU
- Now Live: Watch Balkrishna Doshi’s Pritzker Prize Laureate Lecture Online
- Lawes St Extension – Hawthorn / Habitech Systems
- Chilean Pavilion at 2018 Venice Biennale to Recreate Physical Model of National Stadium to Illustrate the Politics of Housing
- Chicago Architecture Biennial Appoints Sepake Angiama and Paulo Tavares as 2019 Co-Curators
- House between Trees / - = + x -
- First Images Released of SOM's Proposed Skyscrapers on Former Chicago Spire Site
- São Paulo Office / Capítulo Dos
- The "Four Pillars" of B.V. Doshi: Why All Architects Can Learn From the 2018 Pritzker Laureate
- MR 53 / BLOCO Arquitetos
- SelgasCano Adds a Splash of Color to the Bruges Triennale with New Installation
- First Images Released of Foster + Partners Designs for Amaravati, the New Capital of Andhra Pradesh
| Posted: 16 May 2018 10:00 PM PDT  © Aitor Ortiz  © Aitor Ortiz Text description provided by the architects. The new winery, as well as taking care of what is required for the production of high quality white wines by incorporating the latest developments and technology in the field of oenology, had to satisfy a wine tourism programme and generate an attractive image in keeping with the character of the wines produced within.  © Aitor Ortiz One of the key aspects of the project was the integration of the winery with the landscape and its vineyard by means of the following strategies:  © Aitor Ortiz On the other hand, it was necessary to incorporate a small social programme focused on visitors, promoting wine tourism in the area. Access for visitors takes place along an independent path, away from the loading and unloading bays at the warehouse, through the vineyard and with the winery as a backdrop, as if cut out from the sky, and with the village of Rueda in the background. The entrance is situated at a high point of the plot. This, along with the half-buried winery set-up, allows for the social and administrative programme to be on a different level to that of the production one, segregating uses by levels. From this level, it is possible to see the elaboration process and to have a visual connection with the exterior landscape or a direct one, through the terraces and porches that overlook the vineyard.  © Aitor Ortiz The production area is conceived as a single unit that revolves around a central nucleus governed by a sculptured stairwell. Around it, there’s the laboratory, the cask room and the tasting room, leaving the concrete tanks to one side and the stainless steel ones on the other.  Axonometrica The structure of the winery was solved by 6 wall porticoes and great concrete beams that clear a 10 m span, which support double-T prefab slabs up to 14m long. The latter are responsible for giving the interior space and exterior volume a unitary image, giving the winery its identity.  © Aitor Ortiz A limited range of materials were used for construction, using for the finishing touches the same ones that we can find in the wine production and bottling units: concrete, steel, wood and glass. Leaning on the an austere architecture, the image visitors will perceive will be generated by how the production elements are set and dealt with, the connection between the inside areas and that of these with the landscape and the vineyard, as well as the winery tour experience, making it unnecessary for any florid construction or use of materials.  Basement level The design took into account sustainable aspects such as the generation of heat through a biomass boiler, the saving of rainwater for cisterns and watering of gardens, the reutilization of used water, after a purification process, for the watering of the vineyards, making the most of the terrain’s water and temperature stable conditions, gravity-feed grape reception, reinforced thermal insulation, passive solar protection, natural illumination of interior areas combined with LED lighting regulated by photoelectric sensors, etc.  © Aitor Ortiz  This posting includes an audio/video/photo media file: Download Now |
| Francisco Sanin and Lim Jaeyong appointed as co-directors for the 2019 Seoul Biennale Posted: 16 May 2018 09:00 PM PDT  © Tommaso Tanini - <a rel="nofollow" class="external free" href="https://www.flickr.com/photos/imagearchive/3709498895/in/set-72157622307379208">https://www.flickr.com/photos/imagearchive/3709498895/in/set-72157622307379208</a>, <a href="https://creativecommons.org/licenses/by/4.0" title="Creative Commons Attribution 4.0">CC BY 4.0</a>, <a href="https://commons.wikimedia.org/w/index.php?curid=35831971">Link</a> Francisco Sanin (left), Peter Wilson, Felicit Scott, Pier Vittorio Aureli during the Symposium (curated by Pietro Valle) "Architecture, visions and Power". in Florence, Italy Colombian professor Francisco Sanin and South Korean architect Lim Jaeyong were appointed as co-directors for the 2019 Seoul Biennale of Architecture and Urbanism. The announcement is followed by an inaugural edition held in 2017 with 460,000 visitors in total. Born in Medellin, Colombia, Sanin earned his degree at the Universidad Pontificia Bolivariana. He had a crucial role in Medellin's urban transformation, working alongside former mayor Sergio Fajardo, and was co-commissioner of the Korean Pavilion at the 2008 Venice Biennale. Currently, Sanin is an architecture professor at Syracuse University School of Architecture. Also, a practicing architect with works in Colombia, South Korea, and China. Architect Lim Jaeyong served as the general director in various exhibitions such as “Seoul: Towards a Meta-City” in Berlin in 2014 and the Korea-Japan Architectural Exchange Exhibition in 2012. He is the representative of the Seoul-based firm OCA and one of the Seoul Public Architects. “Seoul Biennale of Architecture and Urbanism holds a great significance in that Seoul serves as the discourse channel for city and architecture,” said Seung Hyo-sang, Head of Steering Committee of the Seoul Biennale of Architecture and Urbanism, in a press release last March. The second edition of the Seoul Biennale of Architecture and Urbanism will open September 2019 and be hosted throughout the city for two months. News via: Seoul Metropolitan Government, Syracuse University.  This posting includes an audio/video/photo media file: Download Now |
| Renier Chalon / MAMOUT architects + AUXAU - Atelier d’architecture Posted: 16 May 2018 08:00 PM PDT  Courtesy of MAMOUT architects + AUXAU - Atelier d'architecture
 Courtesy of MAMOUT architects + AUXAU - Atelier d'architecture Text description provided by the architects. The project highlights the heritage of this typical Brussels "Maison de Maître" while radically changing the way of living in the house.  Courtesy of MAMOUT architects + AUXAU - Atelier d'architecture Typical Brussels house are traditionally built following a plan of 3 rooms in a row. The rooms that are on the street side are prestigious spaces, while backyard rooms are dedicated to service. The central parts, which often lacks direct daylight, are generally left as secondary spaces.  Courtesy of MAMOUT architects + AUXAU - Atelier d'architecture  Floor Plans  Courtesy of MAMOUT architects + AUXAU - Atelier d'architecture This beautiful house located in Ixelles is no exception to this rule. The project, which aims to transform the first 2 levels of this house into one dwelling, takes advantage of this configuration. On the street side, the rooms are perfectly restored in their original state, by the conservation of their volume and the rehabilitation of their decoration.  Axonometric The central parts are dematerialized and transformed into a large staircase. This intervention is inspired by Belgian architect Victor Horta, which, a century ago, upsets the plan of the typical Brussels house by implanting the staircase in the centre of the house, source of light and visual connection. The stairs are connected to large landing like mezzanine, allowing to receive other activities than only traffic, transforming this space into a living area.  Courtesy of MAMOUT architects + AUXAU - Atelier d'architecture  Courtesy of MAMOUT architects + AUXAU - Atelier d'architecture Garden side, all floors and walls, without heritage value, are demolished. This leaves room for new structures that host the bedrooms. The level of the ground floor is lowered along a monumental concrete stair, so that the kitchen and the dining room reach the level of the garden and gain ceiling height. Lowering the level of the ground floor also allows to integrate an additional floor by a set of split-levels, and therefore, reach the program of the client.  Courtesy of MAMOUT architects + AUXAU - Atelier d'architecture The project makes an intensive use of reused materials, saved from the demolitions or shopped at ROTOR (wooden floors, lighting, hardware, ...).  This posting includes an audio/video/photo media file: Download Now |
| Posted: 16 May 2018 07:00 PM PDT  © Simon Menges
 © Simon Menges Text description provided by the architects. Located in Brunico, Italian South-Tirol, the Project consists of the extension of the music school, located in the historical villa Casa Ragen. The difficulty of the project laid on configuring an extension that allowed preserving the character of Brunico's historical center and also highlighting the majestic presence of Casa Ragen.  © Simon Menges The project simply proposes the construction of a new «inhabited border», which allows the characteristic urban tissue of Brunico –formed by the noble villas and sealed off gardens– have continuity; in addition to highlighting the urban presence of Casa Ragen, understanding the extension as a sober building that complements what already exists.  Elevation and Section  © Simon Menges  Ground Floor Plan The extension consists of two floors: one is half-buried, and the other shapes the garden. The latter becomes the central space of the project, closely relating the existent building and the extension. It is a wide and peaceful space, which creates through its comfortable atmosphere a space for studying, and an ideal place for concerts shows or events.  © Simon Menges On the exterior, the new school is characterized by a continuous sober wall in which the new front door access is inserted, a delicate connection between the existent that will allow glimpsing the interior garden. The rehabilitation of Casa Ragen is characterized by the new configuration of its interior patio. A new roof characterizes and transforms this space through a system of glass and adjustable slats that act as a light spreader.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 16 May 2018 05:00 PM PDT  © Yongjin Choi
 © Yongjin Choi Text description provided by the architects. Seoul Coffee aspires to create an atmosphere reminiscent of Seoul in the 1980's and 1990's. Rather than doing a complete re-enactment of those times using new items, the focus is on using items that had been preserved from the past. As such, the first site selected was in the Hanok Village in Ikseon-dong. The Mongwon-dong branch that forms a part of the franchise was selected for the elements that could be built upon to play up these aspects of conserving a classical style. But naturally, there were challenges in using/ conserving old items. Simply being old was not enough for an item to warrant its use. We needed several items that would give a classical feel even if they were new. Spots had to be designated where these items could be placed to create a concept and determine the overall layout.  © Yongjin Choi  Floor Plan  © Yongjin Choi Seoul Coffee, Ikseon branch  © Yongjin Choi Step 1. Laying the groundwork  © Yongjin Choi  Facade Sketch  © Yongjin Choi Step 2. Giving a unique identity  © Yongjin Choi Secondly, glass blocks were used. While these are commonly used these days, they are also materials that trigger nostalgia, as they were commonly used in bathhouses, hospitals, and corridors of buildings back in the day. Interestingly, these glass blocks went well with the Hanok structure, too. Thirdly, we paid particular attention to bring out a uniquely Korean feel. A 'Korean feel' is different from an 'Asian feel' in a broader sense. While the cultures of Japan, Korea, and China are similar to one another, they also have unique characteristics that set them apart. We believe that what makes the Korean style stand out amongst different Asian styles is the emphasis on "natural" aspects. As such, materials that would bring out such aspects were used, including granite that was used as grinding stones in the past and gravel to blur the line between the floor and the outer lines. These are also elements that bring together the old and new in a rustic Hanok setting.  Sketch Plan 2 Step 3. Convenience for the users  © Yongjin Choi  This posting includes an audio/video/photo media file: Download Now |
| Chonburi Sila House / Anghin Architecture Posted: 16 May 2018 03:00 PM PDT  © Chaovarith Poonpho
 © Chaovarith Poonpho Text description provided by the architects. In a neighborhood packed with quarries and highways, three dramatic planes keep things cool and quiet for a family of five in this Anghin Architecture-designed house. The Chonburi Sila House is located in Thailand's Chonburi province, a heavily industrialized area dubbed the Detroit of Asia. This particular house's neighborhood is a jumble of factories, warehouses, and eight-lane highways. The environment is loud, dusty and not all that pretty.  © Chaovarith Poonpho The Chonburi Sila House is therefore designed to shield its occupants. One three sides of its plot, it contends with the fumes and cacophony of industrial activity, leaving only the Southern edge looking into a warren of low-slung houses and overgrown yards. As a result, the structure is designed to project solidity and privacy in all but one direction, the garden to its south. The mineral quality of the dramatic planes making up the house's structure echoes the surrounding quarries and factories.  Lower Floor Plan The angular surfaces carve out three main volumes evoking the massive stones (or sila in Thai) being pulverized nearby. These planes also shield residents from viewing the nearby motorways and junkyards, while at the same time, they provide each volume with views channeled toward the garden to the South. The three soaring dividers anchoring the house's design give away very little as to the true shape and size of the interior volumes. From some angles, the interior seems completely hidden with them, while from indoors and from the garden, the walls seem to almost disappear, making way for a vast sense of openness.  © Chaovarith Poonpho Notwithstanding Chonburi's specific challenges, all of Thailand suffers from an overabundance of daylight and heat. In response, the double walls designed with air-gap insulation slice into the house, a design that catches the breeze, channels it through windows, skylights and carefully positioned openings. This creates effective cross-ventilation so that every part of the house is naturally illuminated yet shielded from the elements.  © Chaovarith Poonpho Interior functions are arranged according to the required level of privacy. The entrance and the social areas are on the lower front layer: the first of the three volumes. The middle volume serves as a semi-private area where the main vertical circulation equipped with the skylight is located along with a Buddha praying area, a study area, a toilet and a kitchen. The third volume provides a set of private spaces including bedrooms equipped with private balconies and a bathroom with a skylight and interior garden.  © Chaovarith Poonpho  This posting includes an audio/video/photo media file: Download Now |
| The Murray / Foster + Partners Posted: 16 May 2018 02:00 PM PDT  © Nigel Young / Foster + Partners
 © Nigel Young / Foster + Partners Text description provided by the architects. The Murray is a luxury 336-room hotel located on the southern edge of Central with panoramic views of The Peak and the gardens to the south. This major transformation of the listed building aims to reinvent this unique urban quarter – stitching together the urban fabric by linking the large green spaces flanking the site to the east and west.  © Nigel Young / Foster + Partners A former government headquarters tower, the Murray Building was originally designed at a time when the city was planned around the car, and consequently stands on an island site, surrounded by roads making it impermeable for pedestrians. One of the central aims of the project is to reconnect the building with the city at ground level, creating a new street frontage on Garden Road, transparent and welcoming ground floor spaces, and enhancing and extending the landscaped grounds to incorporate a public tai chi area. At the tower's base is a sequence of four-storey high arches intersected by a podium, and a vehicle ramp, which is a distinctive feature of the original building.  Level 01 Floor Plan A large Old and Valuable tree, which rises up through a void in the parking slab of the podium has been liberated and conserved as the centrepiece of the arrivals sequence for guests.  © Nigel Young / Foster + Partners The architecture of the original building is in direct response to the climate of Hong Kong – the windows are recessed and carefully orientated to avoid the harsh tropical sunlight – gaining it an Energy Efficient Building Award in 1994. The design team consulted Ron Phillips, the original architect from the public works department, thus gaining valuable insights into the building's history. The new design retains the façade while upgrading other aspects of the building and extending the life of the building by introducing a new function appropriate for changing demands of the city – giving it a sustainable legacy for years to come.  © Nigel Young / Foster + Partners The tower is characterised by the distinctive pattern of its white façade, which is made up of a grid of square windows. In a fusion of interior and exterior, the inset bays provide a modular unit and organising principle for the hotel rooms, allowing for a variety of planning options. The upper level suites are angled to create a generous central living space. Luxurious corner suites benefit from spectacular dual- aspect views of the harbour and the peaks and gardens.  © Nigel Young / Foster + Partners  This posting includes an audio/video/photo media file: Download Now |
| Space Lee Ufan / KAGA Architects & Planners Posted: 16 May 2018 01:00 PM PDT  © Yoon Joon-hwan
 © Yoon Joon-hwan Text description provided by the architects. If contemporary architecture has focused most particularly on methods of expression for aesthetic aspects, contemporary art had tended to resemble architecture even more, through a process of creating space. Art has escaped the confines of flat surfaces, to become a direct tool for expressing space or relationships formed between spaces. Space Lee Ufan required a design that could integrate art and space as a single work of art, rather than an architectural space that could be used as a site to exhibit art, or which would be specifically intended for a particular work of art.  © Yoon Joon-hwan  Site plan  © Yoon Joon-hwan The project started by locating the site for the building. While Busan metropolitan City suggested the Busan Citizens Park site, Lee Ufan instead expressed interest towards a relatively small space on the side of the sculpture part at Busan Museum of Art. The building sits upon a 600㎡ site, which was once home to the now-demolished public restroom that used to lie next to the overpass that emerges into the newly developed urban area of Haeundae. The building, which obstructs the length of the overpass at a length of 37m and height of 12.3m establishes a new wall for blocking out noise pollution from the traffic, and is intended as a place to establish a sculpture park surrounded by the Busan Museum of Art and the second exhibition hall of the Busan Exhibition and Convention Center (BEXCO).  © Yoon Joon-hwan  © Yoon Joon-hwan The design prioritized spatial integrations, between the architecture and the surrounding environment, the art and architecture, and the artworks and space, establishing both organic but purposefully tense relationships. This is related to the term Correspondence as used by the artist, provoking different sentiments at the different location of dots on the canvas. It is also related to the expression of 'Relatum' Which is derived from the shape and location of installed rocks. The sculpture is in a simple concrete box form opened out onto the park, forming a tense connection between the Busan Museum of Art and the BEXCO, simultaneously becoming a backdrop for the sculpture installed on the forecourt. The darker shades on the curtain wall facade become an image and device to express an internal space potent with allusions. The exposed concrete wall on the rear becomes a wall of silence that embraces the concrete structure of the overpass and the ongoing flow of traffic.  © Yoon Joon-hwan The interior becomes and artistic device forming a relationship with art. Thus space was completed in with a simple organicism, rather than by differentiating the spaces so as not to interrupt the flow of imagery while observing the works. One can only view the installations by entering through the narrow corridor, or passing by deeply set walls, allowing spaces in which observations can be made within a repeated pattern of tension and relaxation. The first floor houses four large halls and two passageways, as well as an ancillary room for a sculptural installation. The second floor is composed of a large hall with five paintings and two passageways. Other sculpture and mural rooms on the second floor slightly deviate from the norm with a pebbled floor.  Second floor plan The circulation was designed in accordance with a structure that would allow for repeated viewing of the works instead of a linear viewing. This was devised so that the nature of the works could take on different appearances from different viewing points, and could be seen more plentifully according to the paths. The empty canvas installed on the final room on the second-floor stands in silent conversation with the stone, representing what can be seen as the relationship between architecture and art in Space Lee Ufan.  © Yoon Joon-hwan  This posting includes an audio/video/photo media file: Download Now |
| Posted: 16 May 2018 12:00 PM PDT  © Nirut Benjabanpot
 © Nirut Benjabanpot Text description provided by the architects. Hidden in plain sight, Mean Noodles is not hard to find once you enter the alley from NewMarket Street in Sheung Wan. Run by the openUU design duo Caroline Chou and KevinLim, Mean Noodles reflects their love of good design and their passion for delicious food.  © Nirut Benjabanpot Mean Noodles is envisaged as a casual noodle shop that specializes in traditional South-east Asian cuisine with contemporary style. The entrance is emphasized with green stain-less steel window frames and logo. The vintage metal look and concrete finish allows thenoodle shop to blend harmoniously with its surrounding neighborhood.  © Nirut Benjabanpot As a trained architect and professionally certified chef from Le Cordon Bleu (Boston), Limworked closely with Chef Ming Tsai of Blue Ginger in Wellesley, MA, where he discoveredhis love of exotic ingredients. Blue Ginger was also one of Chou's favorite restaurants inBoston, as she attended Wellesley College, a 10-minute walk to the restaurant.  Elevation Chou and Lim are enthusiastic about the strong and intense flavors found in SoutheastAsian cuisine. Lim has spent a great deal of time in Malaysia, and both he and Chou lovetraveling around southeast Asia in search of local eats, such as hawker stalls or hole in thewall places. One of their favorite dishes is the Thai Yen Ta Fo Heng, a classic Thai noo-dles dish. After discovering this not so well known Thai pink noodles dish, Chou and Limbegan seeking it out whenever they visited Thailand.  © Nirut Benjabanpot The name Mean Noodles is part nod to western slang and part play on the Chinese wordfor noodles. "Mean" describes something cool, awesome, interesting, nice and with all thegoodness -- as in having a "mean bowl of noodles." "Mean" also sounds like "noodles" in Chinese.  © Nirut Benjabanpot As both the design team and chef-owner of the restaurant, Chou and Lim faced the chal-lenge of coming up with a consistent concept from logo, branding, noodle recipes, all theway to the interior and facade. Chou and Lim took their cue for the interior of Mean Noo-dles from Malaysian Batik, a popular textile art in leaves and floral motifs. The colors arelight and vibrant, with carefully crafted lines and floral patterns on the fabrics.  © Nirut Benjabanpot The open kitchen fosters interactions between the customers and the chef, giving dinersan opportunity to watch as their food is prepared. The hanging cabinets above the barhave custom "MEAN" lighting to emphasize the attitude and taste of the noodles. Thekitchen subway tiles have been finished with green grout, emphasizing the line motif fromthe dining room. The standing bar across the seating area allows customers to grab a quick bite or an informal happy hour drink.  © Nirut Benjabanpot The marble tabletops and marble mosaic tiles compliment the mean green tiles, contrastedwith the mustard seat fabric. Mean Noodles also takes advantage of the high ceilings toprovide a comfortable and airy atmosphere for diners to enjoy. Customer comfort was alsoa major consideration in the design process; diners can utilize the USB outlets provided torecharge their electronics when dining, while bags and purses can be hung below the mar-ble tabletops to allow customers to sit comfortably.  © Nirut Benjabanpot  This posting includes an audio/video/photo media file: Download Now |
| Now Live: Watch Balkrishna Doshi’s Pritzker Prize Laureate Lecture Online Posted: 16 May 2018 11:30 AM PDT Update: Watch the lecture with the video above! 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.  Courtesy of VSF 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 |
| Lawes St Extension – Hawthorn / Habitech Systems Posted: 16 May 2018 10:00 AM PDT  © Nic Granleese
 © Nic Granleese Text description provided by the architects. The Hawthorn - Lawes Street extension is a project to rejuvenate an original Victorian cottage and bring it up to modern, high performing standards. The street façade was to be refinished and the rear addition replaced with a modern and efficient open living space. The property had been brown brick-clad in the eighties with an ineffective addition to the rear.  © Nic Granleese The new living and master-suite areas will be constructed with great northern orientation being a key driver of this design. The 'wedge' shape of the living and sleeping areas towards the rear of the property ensure that full optimization of the site's solar potential is achieved.  © Nic Granleese The open plan living spaces are divided by the kitchen, sitting beneath a single roof entity, gently rising to maximize bright winter sun and providing adequate shading during the summer heat. Access to the new northern garden has also been well considered, taking advantage of rear laneway access to the property.  © Nic Granleese  Floor Plan  © Nic Granleese The Lawes Street Extension will receive a fresh new street façade, with naturally oiled Cyprus timber battening over the existing brick frontage. The front veranda will also be modernized with a sharp new porch entry, and the kid's bedrooms have metal clad box-bay window seats from which to enjoy the large front garden.  © Nic Granleese  This posting includes an audio/video/photo media file: Download Now |
| Posted: 16 May 2018 09:00 AM PDT  Propuesta: Acceso. Image Courtesy of Consejo Nacional de la Cultura y las Artes As part of our 2018 Venice Architecture Biennale coverage we present the proposal for the Chilean Pavilion. Below, the participants describe their contribution in their own words. At the centre of Sala dell'Isoloto stands a large-scale model of a building made of rammed earth. On closer examination, the sixty pieces that comprise the building's oval shape appear less to be made of earth as carved in it. Layers of soil with slight variations in colour and texture recall that it is land what is at stake at the Chilean Pavilion. The layering of the pavilion's pieces is the footprint of an artisanal process of production by which a fragile, discrete material—soil, bare earth—is transformed into a stable, monolithic object. Simultaneously heavy and fragile, these objects are in turn symbolic fragments of another transmutation: one by which slum dwellers were transformed into property owners in an event at Chile's National Stadium, and one by which a city that grew unplanned becomes visible and fixed in a plan, that of a building able to narrate its own history. The critical reconstruction of the stadium's floorplan as a building that renders an image of the city is at the core of the curatorial proposal. Each piece of the stadium is a fragment of the city materialized in layers of rammed earth, its top imprinted with the urban fabric of the neighbourhood it belongs to. The pavilion's narrative is articulated around it in other four moments: 'the event room', ''the islands', the horizon', and 'the city'.  Planta original del evento en 1979. Image Courtesy of Consejo Nacional de la Cultura y las Artes The first one occupies the entire vestibule of the pavilion, and is devoted to the archival research and findings surrounding the event. On the back wall of the room opposing the entrance, the STADIUM plan, with the city inscribed in it, is exhibited as the origin of the exhibition and as a prelude to its materialization. On the left audio-visual material narrates the story and context of the event through three means: the press and propaganda, the TV coverage and speeches, and the booklet. Once in the main room the 7x5 metres STADIUM emerges in the middle. At its right hand, the south wall exhibits a second moment—'the islands', amplifying through interviews with people who were present at the stadium that day, the stories of three out of sixty pieces of the stadium: La Pincoya, Villa Francia and La Bandera. 'The horizon' occupies the north wall and is dedicated to the Stadium's manifold stadiums in a silent film based on archival records. It gives the building its own context back, as witnesses to the city's history, by revisiting other important events and figures at the Stadium.  Contratapa de la planta original del evento en 1979. Image Courtesy of Consejo Nacional de la Cultura y las Artes The background wall of the STADIUM (a city in a building) holds a representation of Santiago with the precise location of the stadium's pieces in it (a building in a city). The east wall offers a mirrored version of the central piece, its narrative counterpart. The structure accounts for the distance between the stadium (in the city centre) and the shantytowns (in the city outskirts), the building as part and witness of Santiago's uneven development.  This posting includes an audio/video/photo media file: Download Now |
| Chicago Architecture Biennial Appoints Sepake Angiama and Paulo Tavares as 2019 Co-Curators Posted: 16 May 2018 07:00 AM PDT  © Tom Harris The Chicago Architecture Biennial has announced the appointment of curator and educator Sepake Angiama and architect and urbanist Paulo Tavares to the curatorial team for the event's 2019 edition. The new appointees will combine with Artistic Director Yesomi Umolu to lead the curation of the 2019 event, bringing expertise in research architecture and discursive practices.
Angiama is based in Europe, where her work explores how social spaces can be disrupted and provoked by learning, performance, and design. She recently served as head of Education for Documenta 14, where her project "Under the Mango Tree: Sites of Learning" brought together artist-led social spaces, libraries, and schools seeking to "unfold discourses around decolonizing education practices." She holds an MA in Curating Contemporary Art from the Royal College of Art, London.  Sepake Angiama. Image © Gina Folly Tavares is a professor at the Faculdade de Arquitetura e Urbinismo at the University of Brasilia, where his research focuses on the intersection between space, conflict, rights, and visual cultures. He has previously taught at the Universidad Catolica del Ecuador and Goldsmiths, University of London. He has also collaborated with Turner Prize candidates Forensic Architecture and has been featured in the Harvard Design Magazine, Oslo Architecture Triennale, and Istanbul Design Biennial. In 2017, he created the agency Autonoma, dedicated to urban research and intervention.  Paulo Tavares. Image © Gabriel Ribeiro
The third edition of the Chicago Architecture Biennial will run from September 19, 2019, to January 5, 2020. The event will again coincide with EXPO CHICAGO, and the main site for the Biennial will again be located at the Chicago Cultural Center. News via: Chicago Architecture Biennial
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| House between Trees / - = + x - Posted: 16 May 2018 06:00 AM PDT .jpg?1525826062 "© Leonardo Méndez") © Leonardo Méndez
.jpg?1525826445 "© Leonardo Méndez") © Leonardo Méndez Text description provided by the architects. Mariano Roque Alonso city, located next to Asuncion, is part of “Gran Asuncion”, an urban continuity formed by several low-density cities. These cities have been growing along important highways resulting in blocks following their geometry. .jpg?1525826314 "© Leonardo Méndez") © Leonardo Méndez  Ground Floor Plan and Longitudinal Section .jpg?1525826367 "© Leonardo Méndez") © Leonardo Méndez The “Vivienda Entre Árboles” is built on a one-hectare terrain with rich vegetation, where an old ranch was located. The project is implanted within an area of dense vegetation, with trees that have developed long trunks in search of light. .jpg?1525826089 "© Leonardo Méndez") © Leonardo Méndez The aim is that the existing trees be part of the house´s integral spaces, utilizing a concrete structure that allows full and empty, generated in interior and exterior spaces. .jpg?1525826345 "© Leonardo Méndez") © Leonardo Méndez  Rooftop Plan and Side Elevation .jpg?1525826383 "© Leonardo Méndez") © Leonardo Méndez Interior spaces change scale according to internal functions in which double heights, bridges, glass volumes containing green life, and hanging floors allow a fluid space, and openings between concrete beams let natural light and ventilation occur. .jpg?1525826151 "© Leonardo Méndez") © Leonardo Méndez  Upper Floor Plan and Cross Section .jpg?1525826408 "© Leonardo Méndez") © Leonardo Méndez  This posting includes an audio/video/photo media file: Download Now |
| First Images Released of SOM's Proposed Skyscrapers on Former Chicago Spire Site Posted: 16 May 2018 05:10 AM PDT  © Noe & Associates/Boundary courtesy of Related Midwest The Chicago Tribune has released images of an SOM-designed skyscraper scheme for the former Chicago Spire site. The two towers, measuring 1,000 and 850 feet tall (305 and 259 meters), are expected to contain 1.3 million square feet of floor space, including 850 residential units. The proposal signals a new lease of life for 400 N Lake Shore Drive, where a 75-foot-deep, much-ridiculed foundation hole serves as the only reminder of the once-planned Chicago Spire, a 2000-foot-tall Santiago Calatrava-designed skyscraper.  © Noe & Associates/Boundary courtesy of Related Midwest  © Noe & Associates/Boundary courtesy of Related Midwest Named "400 Lake Shore Drive," the SOM scheme features two glass and terra cotta residential towers sitting atop a four-level podium, containing 750 vehicle parking spaces, meeting rooms, a ballroom, and rooftop outdoor amenity space. The taller of the two towers, located at the site's southern edge on the Chicago River, is expected to contain 300 condos and a 175-room luxury hotel. Meanwhile, the sister tower built 150 feet to the north will contain 550 apartments.  © Noe & Associates/Boundary courtesy of Related Midwest
 © Noe & Associates/Boundary courtesy of Related Midwest The deal between the city and developer Related Midwest will also include the construction of DuSable Park, a new public space on a peninsula to the east of the SOM scheme, which has been under consideration since the 1980s.  © Noe & Associates/Boundary courtesy of Related Midwest If completed, the SOM scheme would finally mark an end to the long saga of the Chicago Spire site. The hole which currently exists at 400 N Lake Shore Drive is all that remains of the Santiago Calatrava-designed Chicago Spire, a 2,000-foot-tall (610-meter) spiraling tower that would have been the tallest building in the United States. The project began construction in 2007 but later became a high-profile casualty of the financial crisis, after which the proposal was left in limbo for years before it was finally scrapped in 2014.  © Noe & Associates/Boundary courtesy of Related Midwest The proposed scheme has been designed by David Childs of SOM, the lead architect behind 1 World Trade Center. The scheme would sit in close proximity to the site of the proposed Chicago Tribune Tower, which if constructed, would become the city's second-tallest skyscraper. News and images via: The Chicago Tribune, Related Midwest  This posting includes an audio/video/photo media file: Download Now |
| São Paulo Office / Capítulo Dos Posted: 16 May 2018 04:00 AM PDT  © César Béjar
 © César Béjar Text description provided by the architects. The project is located on a corporate building in the financial district of Guadalajara, Mexico. The building in which the Sao Paulo offices are located, is subdivided for its lease; making the ephemeral and the temporary the core concepts of the project. In this specific case, the possibility of growth was not the only requirement; but a possible reuse, relocation or reconfiguration of space had to be considered, according to future needs.  © César Béjar  Diagram  © César Béjar Departing from the premise that "architecture should not be disposable", the project was developed through a modular constructive system, based on joints, that could be assembled on site and in which the furniture responded to a whole. Both the palette of materials and the modulation of the project were chosen putting the minimum waste possible into consideration. Solid and translucent panels were assembled, responding to the measurements of its commercial format.  © César Béjar  Plan  © César Béjar This project's layout is generated by the insertion of two pavilions within an open plan, giving privacy to the common workspace between them. Finally, the area in the back of the floorspace is segmented in order to locate the meeting room and the main office, as they required the most privacy.  © César Béjar  Isometric  © César Béjar  This posting includes an audio/video/photo media file: Download Now |
| The "Four Pillars" of B.V. Doshi: Why All Architects Can Learn From the 2018 Pritzker Laureate Posted: 16 May 2018 02:30 AM PDT .jpg?1526422043 "CEPT. Image © Laurian Ghinitoiu") CEPT. Image © Laurian Ghinitoiu This article was originally published by Common Edge as "The Genius, Heart and Humility of Indian Architect B.V. Doshi." I'm sitting in a busy suburban coffee-and-donut shop with the quiet, grandfatherly Indian architect, Jitendra Vaidya. When I started my life as an architecture intern in the late 90s, Jitendra was one of the most experienced technical designers I knew. Equally comfortable weighing the relative merits of various flashing details as he is discussing abstract design concepts, Jitendra is an old-school, universal architect. After more than half a century in a profession famous for grinding deadlines, Jitendra still maintains a joyful twinkle in his eye when he talks about architecture. So it's no surprise that Jitendra is visibly animated today as he tells me about his teacher, the man who was just recognized as one of the world's greatest living architects, B.V. Doshi. For the Pritzker Prize—the profession's highest honor—to be awarded to a 90-year-old academic urbanist who spent his long career primarily teaching architecture students and serving poor communities in India is a stunning development. To be fair, the caricature of Pritzker winners as arrogant, scarf- wrapped, Euro-American, Starchitects, is overblown and outdated. Recent winners such as Alejandro Aravena, Wang Shu, and Shigeru Ban, are connected in their mutual dedication to serving poor and displaced communities through innovative, culturally authentic designs. But even accepting this nuance, Doshi is fundamentally different from recent winners.
For starters, Doshi's work is not obviously sexy. It doesn't feature complicated geometry or advanced technology. It's not fashionable or current. Until the recent award announcement, there were no Doshi projects splashed across the architecture blogs and in design magazines. In a world where awards go to the most photogenic projects, Doshi's work is the antithesis: it's difficult to capture with a camera—it's not "Instagramable." Like most things in my life, my experience with Doshi's architecture was an unplanned extension of my job. I spent a decade managing my firm's Shanghai office and occasionally visiting India to collaborate with colleagues. On one memorable visit, we spent a day exploring the modernist wonderland that is the city of Ahmedabad. The day started as a pilgrimage to a couple of modern architecture holy sites which Doshi was critically responsible for bringing to life: Le Corbusier's Mill Owner's Association Building, and Louis Kahn's Indian Institute of Management Campus—maybe my favorite two buildings by my favorite two architects. But, as much as I love those projects, the most memorable moments of the day came during our tour of Doshi's own Institute of Indology, and his Center for Environmental Planning and Technology, where Doshi was the founding dean. At the Institute of Indology, my friend Nick and I were surrounded by laughing elementary school students, eager to see (and photobomb) our pictures of the building. At CEPT, we sat on the ground in the courtyard eating dosa with the university students. In photographs, both buildings appear to be "good-but-standard" examples of the type of high-Modern, concrete architecture typical of that decade. In person, however, these projects are serenely soulful: sensitively connected to their environment and welcoming towards communal activity. At the time, I sensed there was something important to learn from these projects. But then, I probably moved on to the next deadline, and years passed, Doshi faded to a nice memory. Then, last month, Doshi won the Pritzker and I called my old friend Jitendra.  B.V. Doshi's Institute of Indology Building in Ahmedabad. Image © Michael Tunkey Fifty years: that's how long Jitendra has been thinking about Doshi. Like all good fathers, he's bored his kids with "glory days" stories of his time as an early CEPT student in 1965. So today I've opened the floodgates. Jitendra talks fast with frequent use of the words "magical," "surreal," "spiritual." He tells me that he often reflects how lucky he was to be raised in Ahmedabad by open-minded parents, in the wake of India's 1947 Independence, just at the moment Doshi returned from Europe. As he talks, I come to see why Doshi is not only the perfect pick for this year's Pritzker, but also an antidote for much of what afflicts contemporary academic and professional architecture. Jitendra breaks his experience with Doshi into three distinct phases: the new student, the mature student, and the young employee. In the first phase, as a new student, Jitendra was entering into a school that was not only entirely experimental, it was essentially an act of faith. When Doshi founded the School of Architecture, Ahmedabad in 1962, it was an uncertified private program which would only later become the CEPT. Jitendra and his classmates knew they weren't going to graduate with an accepted diploma. In the certificate-driven Indian society, that meant simply that they would likely not be eligible for professional employment upon graduation. Yet, not only did Jitendra have to compete against students from around India for a position in the school, he insists that after a year in the program nobody worried about the diploma because, "we all knew that we would be successful in life." In these early years, Jitendra's life as a student was the platonic ideal of learning, with Doshi as the nurturing figure in the center, who not only taught a wide variety of classes from studio—pottery, carpentry, Indian dance—he also attracted the greatest living architects from around the world to teach at the school. Le Corbusier and Kahn were regular visitors, and students would regularly stroll over to the IIM to see the bricks go up on Kahn's masterpiece. But what Jitendra remembers most from this period was Doshi's innovative pedagogy for young students which was simultaneously totally hands-on and absolutely intellectual. For hands-on classes, Doshi would bring in teachers, like an elderly master-carpenter with no formal education, to demonstrate the collective wisdom of his craft. Students would experiment with commonly available materials like wood, brick, mud, reeds, and recycled industrial products. At the same time, Doshi introduced contemporary theory, like the work of Lewis Mumford, to contextualize student work.  Michael Tunkey on his visit to Ahmedabad. Image © Nick W. Cameron In the second phase, as a mature student, Jitendra was shepherded towards a commitment to community. Students would work directly in communities where people were living on less than ten dollars per month. They interviewed the residents, conducted surveys, monitored daily schedules, observed the use of domestic animals like donkeys, measured everything in the house, and documented the family structure and dynamics. Jitendra describes how at this time in India most people were living hand-to-mouth: the middle class was poor, and the poor had nothing. So they began to learn the meaning behind Doshi's dictum, "give them the plinth and they will build the roof." They developed models for "basic shelter," which Doshi described as the minimum, minimum house that even the poorest person can build for around fifty dollars. They learned that you designed around lifestyle. They also learned the power of giving even the smallest amount of "ownership" to the very poor. Working in these communities was not odd or uncomfortable for Jitendra. Even though he grew up in the middle class, he walked to school every day through what he could only describe as "slums." He understood the rough structures built from available materials that required constant maintenance by the residents. But Doshi encouraged students not to see these as inferior or low-tech. At the same time, CEPT had advanced facilities like a wind tunnel, and a solar angle testing room. Doshi encouraged innovation at all levels of design regardless of cost or client. After six years as a student, Jitendra moved to the third phase, working as a young employee in Doshi's office for two years before moving to the US for graduate school (ironically British and American universities would accept a CEPT diploma long before they were certified in India). Jitendra found a fulfilling culmination of his studies in his work. Doshi was always extremely kind, gentle and generous to the young staff. His senior designers were not only brilliant, but also focused on nurturing and grooming the team. While there was a lot to learn, there was also continuity between what they studied at CEPT and what they did in the practice. Jitendra's team designed a very large housing project for workers in the gas industry. They saw how the concepts of "basic shelter" could create a community that residents loved. Doshi's low-cost housing projects were high density, but low scale; simple two- or three-story walk-up buildings that encouraged community life to happen at the street level. Doshi was early to identify the problems that cars would pose to communities, and carefully separated pedestrian and vehicular traffic, always giving priority to people. He also focused on practical, inexpensive sustainability. This was in a context where people were not only too poor for air conditioning, they were too poor for insulation, and in a climate where a tin roof is a major problem for the residents. More than anything, Jitendra saw how, even in these extremely humble projects, Doshi maintained an artistic agenda. Something of the beauty in these projects gave an identity to the community, and the new residents felt proud of their homes. This was Doshi's fundamental lesson of ownership and identity. .jpg?1526422070 "CEPT. Image © Laurian Ghinitoiu") CEPT. Image © Laurian Ghinitoiu And then, with a recommendation from Doshi, Jitendra left India to study, practice, and start a family in America. Jitendra has stayed in touch with his mentor over the intervening decades. Over time, with the benefit of hindsight, Jitendra has developed something like a "unified theory of Doshi." He believes that most people misperceive Doshi as primarily either an architect or an urbanist. Jitendra believes that Doshi's true brilliance lies in "four pillars": institution builder, educator, communicator, and visionary. Doshi's exceptionalism as an institution builder and educator can be inferred through Jitendra's own experience as a student. I'd challenge any current university professor or administrator to imagine what talents would be required to dream up a new school, raise funding for land and construction, coordinate with government agencies, attract the world's best teaching talent, invent a unique and culturally relevant pedagogy, convince students (and their parents) to risk an untested model, and to grow decade-by-decade into one of the country's most renowned institutions. Doshi did this in his 30s, while also teaching his own courses, and starting his professional practice. Hard to imagine. But the other two pillars of Doshi's persona—communicator and visionary—are the qualities which are both totally undervalued and desperately needed in contemporary design culture.  Balkrishna Doshi. Image Courtesy of VSF For Doshi, communication was strongly rooted in empathy and curiosity. Over and over in our discussion, Jitendra emphasized that Doshi was "so simple, so clear." He was equally happy giving a lecture to an international academic audience as he was talking with an experienced builder or sitting on a mud floor with a group of village grandmothers. In all cases he genuinely cared about the individual people in each situation. When visiting, Jitendra worried about wasting Doshi's valuable time. But Doshi loved to chat, to find out how you were doing personally and professionally. Despite his thousands of contacts, he would remember what you discussed, things like the names of your children and their interests. This was the curiosity that sprung from Doshi's bottomless empathy. At lectures, Doshi would always sit in the front, on the floor, taking careful notes in his journal like an eager student. But Jitendra noticed what his mentor did next, "we all take notes, but Doshi would go home and connect the dots." This is Doshi's power of communication, a power of listening and connecting across cultures, classes, theories, paradigms and disciplines. The nature of Doshi's communication style is so utterly thoughtful, respectful, and philosophical that it's hard to even relate to the all-caps opinion diatribes that dominate contemporary design discussions on social media and online comments sections. In that context, it's easy to see how Jitendra and many other Doshi students see him as an almost spiritual leader within architecture. .jpg?1526422080 "CEPT. Image © Laurian Ghinitoiu") CEPT. Image © Laurian Ghinitoiu This leads to Vision, the final, and perhaps most important lesson of Doshi and his Pritzker Prize, particularly for today's young architects trying to craft an authentic career in a crowded profession. What I really wanted to learn from Jitendra is how Doshi became Doshi. At one moment he was a 30-year-old "foreign designer" working in the European and American studios of the "Great Masters," and in the next moment he emerged as a fully-formed icon of the Modern Indian Architect. How does that happen? Jitendra doesn't know for sure, but he guesses that the transformation was fast and total, "like when Gandhi realized that he would stop wearing western suits." Gandhi's wardrobe change was anything but superficial; it was based on a radical redefining of self with implications from root to branch. Interestingly, Doshi's transformation does not reject his foreign influences, rather he incorporates them into a new worldview of a cosmopolitan Indian architect who designs for local lifestyles and people using local materials and traditions. In his early 30s Doshi had the vision to create sustainable, livable, low-cost communities for his people. He did this within the context of his local culture without being trapped in the obvious provincial, nationalistic or nostalgic cul de sacs. He then spent the following half-century patiently communicating these ideas across cultural silos, building coalitions and institutions to move them forward, and training the generation to implement them... That was it. I understood why Jitendra's Unified Theory of Doshi is so vitally relevant to architecture today. We finished our coffees, chatted about children, and said our goodbyes. I walked back to my car thinking about my work. Michael Tunkey is a Principal at CannonDesign and proud Buffalo-based architect who has lived and worked around the world. With a consistent focus on art, architecture and community, he seeks the broadest possible definition of the practice: designer, builder, organizer, curator, teacher, and writer.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 16 May 2018 02:00 AM PDT  © Joana França
 © Joana França Text description provided by the architects. Milton Ramos design for the project 53 dates back to December 27th, 1972, however the house was finished only in 1974. The Architect Milton Ramos was an important collaborator to Oscar Niemeyer on the design and detailing of some of his most iconic buildings in Brasília, such as the Itamaraty palace and the National Theater.  © Joana França  Plan  © Joana França For 40 years, this residence belonged to the same family, although it has not avoided interventions that has altered the author’s initial concept. The reflective pool was covered by soil, a fence was placed in the external vestibule (preventing any direct access to the main door) and the interiors of the house – once in exposed concrete - were covered by layers of mortar, plaster and white paint. There were other small interventions made in the windows, door openings and wall covering, however the measures mentioned before were the ones which most changed the original design.  © Joana França  © Joana França BLOCO´s project for the house restoration and retrofit has adapted the house to the new owner’s necessities as well as it has recovered some aspects from the original concept: free flow between spaces, omnipresent exposed concrete usage and water usage. These aspects are well-known in others public designs by the architect Milton Ramos and they were wisely adapted to the residential scale in this project in Brasília.  © Joana França In this intervention, the original Ipê wooden floor was recovered and the exposed concrete on the interiors of the house was exposed and restored. The reflective pool in front of the house was rebuilt (once covered by soil in previous interventions) and the existing fence was removed in order to free the main access, as it was intended in the original project. Existing bathrooms were adapted and divided for the creation of suites, the central restroom was made bigger and the kitchen gained a new access to the dining room. All these measures adapted the house according to the owner’s necessities and they recovered some aspects from the original concept.  © Joana França  This posting includes an audio/video/photo media file: Download Now |
| SelgasCano Adds a Splash of Color to the Bruges Triennale with New Installation Posted: 16 May 2018 01:00 AM PDT  © Iwan Baan In our rapidly changing world where ideologies and forms of life are under threat, history is being disregarded. The 2018 Bruges Triennale proposes one question: "How flexible, liquid, and resilient can a historic city like Bruges be in an age when nothing seems to be certain any longer?" In parallel, the inspiration behind the concept lies in the geography of the city itself. Bruges is a city wrapped and braided with water and has been a metaphor for Liquid City since early times. Till-Holger Borchert and Michel Dewilde, curators of the 2018 Bruges Viennale, have asked artists and architects to translate the city's fluidity and artistic legacy into picturesque installations, allowing visitors to become part of the creative process. This year, award-winning Spanish Studio SelgasCano led by José Selgas and Lucía Cano, have designed a vibrant floating pavilion in the Coupure Canal so that visitors can take a dip. The outer layer allows light to travel playfully through the space, distorting the natural perception of the old city, and acts as a muse for photographers. In addition to it being a swimming installation, the platform also serves as a place for gatherings and activities. The installation consists of a steel skeleton enclosed by a fluorescent pink-orange vinyl. This waterproof plastic material has never been used in a building and was constructed on site in a completely hand-made process. A yellow wooden platform is attached to the installation, continuing the interactive experience by allowing visitors to jump into the canal for a swim.  © Iwan Baan The playfulness of the light and colors, as well as its ability to create interaction with the visitors, is a throwback to SelgasCano's impressive portfolio, notably the 2015 Serpentine Pavilion. Showcased in London, the Serpentine was a playful render of the chaotic, London underground. The installation, similar to this year's project, consists of a steel skeleton wrapped with multi-colored sheets, creating a dynamic 3-dimensional sketch of the underground routes. Unlike the Serpentine, the Bruges Triennale Pavilion has an organic form, which mimics the surrounding water bodies.  © Iwan Baan  © Iwan Baan News via: SelgasCano  This posting includes an audio/video/photo media file: Download Now |
| First Images Released of Foster + Partners Designs for Amaravati, the New Capital of Andhra Pradesh Posted: 15 May 2018 11:05 PM PDT  Amaravati Government Complex. Image Courtesy of Foster + Partners Design development of the new governmental complex in Amaravati is ongoing as Norman Foster makes a visit to Andhra Pradesh to oversee the progress and meet with Chief Minister N Chandrababu Naidu and his team. After being selected as winners of an international competition to design the new capital state of Andhra Pradesh in Southeast India in 2017, Foster + Partners will be designing the central area of the 217-square-kilometer city which includes numerous secretariat buildings, along with two key buildings: Legislature Assembly and High Court Complex.
 Amaravati Government Complex. Image Courtesy of Foster + Partners The new city complex, which is expected to be complete within 25 years, is a result of a reproduction and redefinition of the state's boundaries between Andhra Pradesh and Telangana. The new city will be one of the most sustainable cities in the world and will acquire plenty of fresh water, due to its strategic location on the banks of Krishna River. At least 60% of the area is occupied by greenery or water, defined by a dominant urban grid.  Amaravati Government Complex. Image Courtesy of Foster + Partners To further implement sustainability, a widespread of solar energy will be installed and means of transportation will include water taxis and electric vehicles. The urban design will also encourage people to walk around the city by installing shaded streets and an abundance of greenery surrounding the routes.  Amaravati Government Complex. Image Courtesy of Foster + Partners Foster+Partners have already displayed the designs for public consultation in the Indian city to unfold the citizens' feedback and comments. News Via: Foster+Partners.  This posting includes an audio/video/photo media file: Download Now |
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