Arch Daily |
- Manaus House / Alexia Convers Architecture
- Swimming Pool in Saint Gilles Croix de Vie / Brochet Lajus Pueyo Architects
- Claire House / DTR_studio architects
- Extra Time Café & Gallery / XU Studio
- Manja Spa / PLAYGROUP Studio + AHCPL
- Shanghai Jiabei Country Park West - Visitor Center / ECADI of Arcplus Group
- A Whimsical Wander Showroom / nooyoon deisgn
- BE House / ZIM arquitextura
- Floating Units in Las Amarras / - = + x -
- AL_A Selected for $55Million Renovation and Extension of Scotland's Paisley Museum
- C+S House / AE Superlab
- C.F. Møller Architects Release Images of Proposed Urban Realm for Oslo Central Station
- Le Cabanon / Rick Joy Architects
- Monetizing Your Architecture Practice Online: 4 Ways to Generate New Revenue Streams
- micasa vol.C / Studio MK27
- How Tree Trunks Are Cut to Produce Wood With Different Appearances and Uses
- Mexican Architects Tell us Their Experience Working With 2018 Pritzker Prize Winner, B.V. Doshi
| Manaus House / Alexia Convers Architecture Posted: 21 May 2018 10:00 PM PDT  © Ivan De La Luz
 © Ivan De La Luz Text description provided by the architects. The house is located in the heart of the Amazonian Rainforest, in a green area of Manaus right by the Rio Negro River.  © Ivan De La Luz The check pattern of the floorplan, made of an alternance of raised roofs and opened interior patios, starts with a total permeability from the street and opens gradually towards the forest. The limits between interior and exterior spaces are then diluted. Nature is invited into the house which becomes greener and greener towards the forest. This alternance system in the day area also provides a comfortable natural ventilation to evacuate the heat in this humid tropical weather as well as natural light. Fresh air comes down into the planted patios and the clerestory windows created by raised roofs let the hot air flow out.  © Ivan De La Luz  Floor Plan  © Ivan De La Luz In this tropical monsoon weather, water is also a component of the house. The rain creates a waterfall in the entry hall and every interior patio enjoys rain chains. They contribute to a relaxing ambient sound when raining.  © Ivan De La Luz The night area developps on the east side, around a bigger interior patio distributing all the bedrooms. Every bathroom also account for their own opened planted patio. The house provides a constant visual relationship with the trees, which also produce a very beneficial shade to the house. From anywhere in the house you have a green view.  © Ivan De La Luz The house is made of a concrete structure with local exotic wood doors, windows and decks. The finish floors are white cement and all the wet areas - the infinity pool, bbq area and entrance waterfall - are iron oxydated concrete.  © Ivan De La Luz  This posting includes an audio/video/photo media file: Download Now |
| Swimming Pool in Saint Gilles Croix de Vie / Brochet Lajus Pueyo Architects Posted: 21 May 2018 08:00 PM PDT  © Jean-François Tremege
 © Jean-François Tremege Text description provided by the architects. The project is located in the middle of a remarkable "Natura 2000" natural unit with which it enters in harmony. By a view-point effect, the main hall, light and elegant, offers a panoramic sight of the landscape. From a distance, only the main hall emerges above the salt pans and the waterway named La Vie.  © Jean-François Tremege The roof is expressed in three "petals", floating above ground; the reasoned form of the structure evokes the movement of water, the undulations of a line-manta moving. The abstract character of this roof in levitation above landscape is allowed by a structure in peripheral lattice, which surrounds the surface of the swimming-pool and supports the roof in an interdependent structural unit.  © Jean-François Tremege To allow the swimming-pool's main hall to emerge, like the main project's image, whole of the cloakrooms and technical premises are contained in a building adjoining the main hall that proceeds of a radically different logic. The cloakrooms are integrated in a concrete building which mineral brutal aspect melts in the landscape.  Ground floor plan The technical premises benefits from the natural topography of the ground to be embedded there. The facade's lattice filters the light and the sights and create reflections in the landscape. The curved surface of the interior roof treats both the pools' acoustics and luminous environment. The white metal structure, the clear grounds, the clear cement walls and the wood cladding, harmonizes with the surroundings vegetal universe.  © Jean-François Tremege The swimming-pool's main hall, like a timeless shelter, designed in observation of the natural forms, enters in harmony with its environment.  Water slide level The building is especially outstanding thanks to its glazed wide spaces, with different heights, allowing to reach up to 11 meters. The roofs' offsets allows a direct daylight incoming in the middle of the swimming-pool's main hall. The roof's overflows takes part in the glazings' solar protection for a good comfort during summer. Glass lays out a particular treatment in order to bring light while minimizing reverberation and maximizing transparency on the swimming-pool.  © Jean-François Tremege The structure of the main hall is very specific: located above beams, the ceiling is surfaced with 1400 micro-perforated triangles which model the roof's curves. It is a visible structure with a system of nonapparent fasteners.  © Jean-François Tremege The metal lattice makes it possible to avoid posts within the pool's hall. The white structure is voluntarily visible, as a ship's hull. The row provision of the basins allows to offer to the swimming-pool's users the best orientations for the sunning, and the nicest views on the site.  © Jean-François Tremege An architecture of nature to serve a serene and dynamic environment. It is the identity which the territory's remarkable landscape inspires to us. We restore it by our architectural work.  © Jean-François Tremege  This posting includes an audio/video/photo media file: Download Now |
| Claire House / DTR_studio architects Posted: 21 May 2018 07:00 PM PDT  © Cris Beltran
 © Cris Beltran Text description provided by the architects. Claire House is a Terraced House sites in Gaucín. It has a amazing 360º views: from the Strait of Gibraltar to Cortes Mountains.  © Cris Beltran The project has tried to power it.  Plans 1.200 We have proposed a open space concept in the living areas to enjoy the panoramic views, putting the windows in a strategy positions.  © Cris Beltran The design of the windows with a huge fixed piece of glass and a blind opening system remark the improvement of the views.  Sections 1.200 The position in the outskirts of the town does to propose a double lenguaje in the opposite facades: a more traditional to the town and more abstract to the periphery.  © Cris Beltran The outside spaces generates itinerary as the Andalucian patios where the White color, the wáter and the vegetation are the fundamentals ingredients.  © Cris Beltran In the materiality of the house the white and the simplicity in the details are the main actors, without forget our commitment to efficiency and comfort.  This posting includes an audio/video/photo media file: Download Now |
| Extra Time Café & Gallery / XU Studio Posted: 21 May 2018 05:00 PM PDT  © Zijun Lin
 © Zijun Lin
The project sits inside a beautiful white building that is the Shekou Sea World Culture and Arts Center in Shenzhen, China, designed by the world renowned Japanese architect Fumihiko Maki. Staged behind a 24-meter long building curtain wall facade, the interior design strives to harmonize with the elegance of the architecture without losing its own unique character. With this in mind, the design task at hand becomes especially exciting and challenging.  © Zijun Lin Art and life links  Axonometric. Image Courtesy of Xu Studio Cafe with sound instead of background music  © Zijun Lin Also conspicuously suspended in space are ten luminous, oversized discs. They are inspired by the designer's memory as a child, sitting by the window and watching the rain scatter ripples of varying sizes all over the outdoor pond. Now with a larger pond outside the cafe, so to speak, we hope to seize and share that timeless moment in sensory abstraction.  © Zijun Lin  © Zijun Lin In darkness, the luminescent pendant lamps behind the floor-to-ceiling window are particularly eye-catching, especially their reflection in the stillness of the outdoor pool. Suspended on the upper mirror where a stainless steel box conceals a variety of equipment, the silver stainless steel LED strip light illuminates the space disks. The kitchen is wrapped in semi-permeable gradient glass to form a light box.  © Zijun Lin 'The anti-franchise franchise' Large expansive open spaces, along with moveable, attachable furniture, bring flexibility and unlimited possibilities to the project's function and operation, among them: cafe, F&B, seminar salons, art exhibitions and immersive theater performances.  © Zijun Lin Spatial and functional flexibility, as well as adaptability of design to local conditions, combine to reinforce Extra Time's hallmark as an 'anti-franchise franchise'. To that end, we created the brand's first store in Shanghai with spatial flexibility as a baseline, while the design language and techniques customized to reflect site conditions and business positioning found their way to a fresh new expression. Along the way, the designers of Extra Time's Shanghai store on Changde Road turned the abandoned basement into a 'mined' underground space, characterized by rustic exposed concrete wall finishes that collide and contrast with contemporary reflective materials, as well as light-emitting film that interrupted the basement with the dull sense of dreariness of the industrial underground.  © Zijun Lin  This posting includes an audio/video/photo media file: Download Now |
| Manja Spa / PLAYGROUP Studio + AHCPL Posted: 21 May 2018 03:00 PM PDT  © Ravindra Kanade
 © Ravindra Kanade Text description provided by the architects. Surrounded by dense foliage around, the Spa complex at IBNII Resort was chosen to be located in one of the few clearings in the forest where, coffee estate workers' quarters, once stood. The complex is designed as fragmented blocks, floating within a central water body, connected through elevated walkways. The intention was to connect distinct architectural spaces, uniquely, to natural elements – central court to the sky above, Massage rooms to the pond and corridors to the forest.  © Ravindra Kanade  Floor Plan  © Ravindra Kanade The most unique feature of the design, is the steep 45-degree single lean-to roofs, the eaves of which almost touch the water below. They are designed on either side of the central courtyard converging into the water and opening the central space to the expanse of clear skies, which is a rare experience within the 110 acres, densely forested, site that this resort is located in.  Section 1  Section 2 These roofs practically act as the walls to the massage rooms, directing one's view down to the water body and effectively sheltering the privacy of the user by cutting the view from the courtyard and the corridors outside. Natural light is brought into these rooms by opening up the upper portion of the roofs. The edge of the pond underneath the roof is designed as a seat such that one can sit with their feet immersed in the water pond.  © Ravindra Kanade The bare cuboidal objects, housing the sauna, toilets, changing rooms and herbal bath, are carefully placed in relation to each other between the converging roofs to capture glimpses of the forest while navigating through the corridors. The blocks are designed and positioned in close proximity such that their openings face blank walls allowing the individual rooms to open up and internalize the natural elements while maintaining their privacy levels.  © Ravindra Kanade The corridors are finished with a combination of local stones – Jaisalmer, Chocolate Andhra, Kadappa of varying widths with in-situ white marble chip filling. The two sloping roofs are covered with overlapped Himachal Slate Stones. Central Pavilion floor is made with Structural Glass to view the Water lilies and the fish which populate the pond.  © Ravindra Kanade  This posting includes an audio/video/photo media file: Download Now |
| Shanghai Jiabei Country Park West - Visitor Center / ECADI of Arcplus Group Posted: 21 May 2018 01:00 PM PDT  © Wenyi Liu
 © Hongjie Guan Text description provided by architects. “Always expecting a chance to build a cottage in a mountain forest and enjoy facing the sea with spring blossoms lifestyle”,This may be a long-cherished dream shared by modern Chinese architects who uphold the traditional spirit. We not only wish to closely follow the trend and create avant-garde spatial forms, but are also nostalgic for the utopia landscape, so as to reproduce the utopia in our hearts.  © Wenyi Liu What kind of design would serve as the wedge that connects traditional spirit and modern functionality? We tried to organize our thoughts via this building. The Western Visitor Center of Shanghai Jiabei Country Park is located in the southwestern corner of the whole park. Looking around, one can see vast tracts of farmland, as well as thinly scattered dwellings. Right here, as the one and only public building located far away from the main park area, the complementary Western Visitor Center is mainly aimed to provide a resting area and a transfer stop for park visitors. This means, it requires modern yet unique functional areas to deal with practical issues. In the meantime, the Western Visitor Center also serves as the “face” of Jiabei Country Park, so it needs to reflect the facial features that agree with the suburban environment, as well as the cultural connotation with regional characteristics.  Exploded Axonomteric Interior Space The long-strip structure that stretches across the land block and the road has defined the relationship between the inside and the outside of the park, while the long interface formed on the north side becomes the most important tour bus transfer hub in the Visitor Center. The structure is then further divided into four strips to correspond to the different entrances for different transportation modals. These four long strips adopt the double-pitched roof design which is combined and connected, with arched eaves and wriggling ridges – the changes of cornice create the primary and secondary entrances of the building; and the wriggling ridges create a strong sense of orientation and continuity inside the structure.  © Wenyi Liu The entrance hall serves as the center of the architecture,other functional spaces like Info Desk, Store, Office and Teahouse are arranged around it, while other functions which do not require a strict partition are connected with the hall to form an open and continuous public space for visitors to have a rest or gather before entering the park. Inside the building, the curvy roofs are reflected as a strong sense of streamlined orientation. Together, the continuous open space and the varied ceiling create a one-of-a-kind experience inside the building.
A modern "watery town" meets the "countryside" The wooden roof structure was confirmed as early as in the initial design stage, so as to match with the neighboring countryside environment and the architectural characteristics of the traditional watery towns south of the Yangtze River (Jiangnan). The design that features raised eaves and slightly varied roof ridges gracefully shows off an interior space full of variations. The basic dimensions of the architecture are defined by the 7.5m x 6.5m steel frame, which is evenly converted to smaller dimensions that are suitable for human by the composite beams made of Douglas fir and the roofing boards made of fiber cement. The result is a uniform and refined roof form. .jpg?1525749898 "© Wenyi Liu") © Wenyi Liu White walls and black tiles are always the fundamental elements inevitably associated with the watery towns south of the Yangtze River. Before the Visitor Center was designed, the elements had already set the basic tone for the thematic design of entire Country Park. .jpg?1525751637 "© Wenyi Liu") © Wenyi Liu The functional spaces that require privacy all adopt white walls as the backdrop, which are supplemented with windows depending on actual functional requirements; other public spaces, like the gray spaces of the hall and the corridor are directly connected with the external environment, to form the fluidity with a blurred boundary. Functioning as the partition between the inside and the outside of the building, the wooden grilled doors are a simple form of the traditional window frames. When viewing from the other side of the structure, one can see overlapping grilles which create peaceful yet hazy spatial layers drifting between transparency and opaqueness.  Section The Implied Tradition “Garden” has become a feature and spirit of the structure which is composed of five courtyards lining along the north-south axis: as a view on the opposite side of the entrance, the courtyard in the middle unfolds an impression landscape with water as the main element; other courtyards spread out along the axis, with two on each of the north and south sides - one closer, the other further away; and one curving inwards, the other opening outwards a bit. Between the courtyard and the interior spaces, there are grille partitions, while the north side and the south side are connected by a moon gate. The winding corridor in a traditional garden is eliminated. Instead, the courtyards are encircled by gray public spaces. The continuously arranged grilles obscure the distance inside the building. By virtual of the chiaroscuro effect and the enframed scenery created by the moon gate, the courtyards as well as the distant views that go far beyond the courtyards have again become the visual focus by transcending the building itself. As a matter of fact, it is not easy to get the whole picture of it when you are walking inside the building. However, if you stop to look around, you will see images that possess traditional artistic conception. Just as the saying goes that during a sightseeing trip, when you are walking to tour around, the beauty lies in the scenery varying with your moving steps; when you stop to appreciate it, the charm lies in the picturesqueness.  © Tianjun Zhang At this point, the little building situated in the countryside may have already exceeded our expectations: It adopts the modern design language and approach, but manages to reproduce traditional artistic conception and the garden spirit, and finally appropriately expresses the characteristics of its context and environment. Altogether, these elements will ultimately create a close-to-the-nature experience for users, which is precisely what the countryside Visitor Center is intended to do.  © Wenyi Liu  This posting includes an audio/video/photo media file: Download Now |
| A Whimsical Wander Showroom / nooyoon deisgn Posted: 21 May 2018 12:00 PM PDT  © Suman Chun
 © Suman Chun Text description provided by the architects. A Whimsical Wander(AWW), a high-end women's fashion brand launched in 2015, set out to create delicate pieces that could be worn and enjoyed every day with a classic, chic, and feminine feel. AWW combines timeless designs with simple elegance. The AWW showroom is located in Cheongdam-dong, Seoul, a neighborhood epitomizing the wealthy lifestyle and high- end culture of Korea. Colors and materials are used to define three different chambers as requested by the client; the entry lobby, the clothing room, and the office.  Axonometric Pink Chamber The Pink Chamber is the entry lobby and the waiting area of the showroom. Two changing rooms are connected to the Pink Chamber, which features pink painted walls and pink tile as well as two arch-shaped portals. Each portal connects to the White Chamber and the Grey Chamber. The Pink Chamber provides a surreal environment using a minimum of color and detail.  © Suman Chun White Chamber The White Chamber is the clothing room, where all clothes hang along each side of the wall. This neutral environment has white painted walls and white hexagon tiles to allow customers to remain focused entirely on the clothing.  © Suman Chun Grey Chamber The Grey Chamber is used for the office and the meeting area for the designer and clients. The Grey Chamber is divided by a deep and narrow portal, which offers some privacy to the designer and clients. The Grey Chamber has a direct connection to the storage area and pantry.  © Suman Chun  This posting includes an audio/video/photo media file: Download Now |
| Posted: 21 May 2018 10:00 AM PDT  © Jeremias Thomas
 © Jeremias Thomas Text description provided by the architects. The BE house is in a residential area of Tigre, Buenos Aires.  Perspective Section The desire of this family was to share the house with their friends and family. They wanted to live in a house that welcomed and "hugged" incoming guests, but at the same time generated the necessary privacy for the meeting.  © Jeremias Thomas The house is divided according to its program (public, private and services) in different volumes that are differentiated by their materiality.  © Jeremias Thomas The services volume is of cement, harder and more closed, and turns around the west, protecting the house from the more complicated hours of the sun and the views of the neighbors.  Ground Floor Plan The most private volume holds the bedrooms and is of wood, warmer. It is high to release the ground floor and at the same time seek views and natural light.  © Jeremias Thomas Finally, the public and meeting space, is composed of stone and glass. The contrast between these materials allows to manipulate the relation of this space with the street, the neighbors and garden.  © Jeremias Thomas The relationship and disposition between these volumes is what generates the "embrace", the privacy and the encounter.  © Jeremias Thomas The heart of the house is the living-dining space. This is where the meeting between family and their guests takes place. A large double ceiling height generates hierarchy and allows space to incorporate views and indirect lighting from the south at the top.
A stone wall protects this space from the street views. At last, a large sliding door integrates the gallery into the interior space of the dining-room, creating a unique large meeting space where the interior and exterior mixed up.  © Jeremias Thomas  This posting includes an audio/video/photo media file: Download Now |
| Floating Units in Las Amarras / - = + x - Posted: 21 May 2018 08:00 AM PDT .jpg?1525881262 "© Leonardo Méndez") © Leonardo Méndez
.jpg?1525881548 "© Leonardo Méndez") © Leonardo Méndez Text description provided by the architects. The Paraguay river (“water that goes to the sea” in the guarani language) is one of the main rivers of South America, a tributary river of the Parana, and one of the most important masses of water of the Rio de la Plata basin. .jpg?1525881445 "© Leonardo Méndez") © Leonardo Méndez  Axonometric 01 .jpg?1525881695 "© Leonardo Méndez") © Leonardo Méndez Mariano Roque Alonzo City, where the floating structure is situated at Astillero "Las Amarras", is next to Asuncion City, and is a part of the Metropolitan Area called “Gran Asuncion” nearby the Remanso Bridge that connects the Oriental region to the Chaco region.  Axonometric 02 Colectivo Aqua Alta did a first research regarding pilot floating structures for different uses (emergency refuges, medical dispensaries, schools, public bathrooms, hydroponic crops, fish farming, among others) that responded to flooding that occurs along the riverside. After de later, Astillero las Amarras requested a floating structure that would function as a passenger port and could protect them from the inclement weather. .jpg?1525881005 "© Leonardo Méndez") © Leonardo Méndez The structure consists of floating modules made out of Styrofoam blocks wrapped in galvanized metal sheets, and a 20 cm UPN metal structure with an internal secondary metal structure on which modules of wood decks are placed, leaving space in between for water and electric piping. The platform, using a bent metal rod structure, supports a wooden lamella type structure, in which modular elements where designed according to the measurements of a 20 mm. Plywood from which twenty pieces where made. .jpg?1525881503 "© Leonardo Méndez") © Leonardo Méndez  This posting includes an audio/video/photo media file: Download Now |
| AL_A Selected for $55Million Renovation and Extension of Scotland's Paisley Museum Posted: 21 May 2018 07:00 AM PDT PaisleyMuseum.jpg?1526922138 "Exterior of the Paisley Museum. Image Courtesy of Paisley Museum") Exterior of the Paisley Museum. Image Courtesy of Paisley Museum London-based AL_A has been appointed for their first Scottish commission: the $55million (£42million) transformation of the Paisley Museum. The brief calls for the revitalization of the home of Paisley's textile heritage, natural history and art and science collections. The museum's transformation is a flagship project for a $135million (£100million) investment in cultural venues by the council governing the city of Paisley, in preparation for a UK City of Culture 2021 bid legacy. PaisleyMuseum.jpg?1526922165 "Pillar Gallery at the Paisley Museum. Image Courtesy of Paisley Museum") Pillar Gallery at the Paisley Museum. Image Courtesy of Paisley Museum While the Paisley Museum renovation represents AL_A's first Scottish commission, the firm has extensive experience in the design of museums and cultural venues, including the Victoria & Albert Exhibition Road Quarter, which has recently been awarded a RIBA London Building of the Year award. The firm has also recently been shortlisted for the redesign of the visitor experience for the Eiffel Tower. PaisleyMuseum.jpg?1526922114 "Balcony at the Paisley Museum. Image Courtesy of Paisley Museum") Balcony at the Paisley Museum. Image Courtesy of Paisley Museum
PaisleyMuseum.jpg?1526922124 "Loom exhibit at the Paisley Museum. Image Courtesy of Paisley Museum") Loom exhibit at the Paisley Museum. Image Courtesy of Paisley Museum The museum will close in the Autumn of 2018 for work to begin. The project will include a contemporary addition to the existing Victorian building with a new entrance, café, shop, landscaping, and museum spaces. Four museum buildings will be renovated in tandem with a complete internal redesign to reimagine the visitor experience and double the number of objects on display. PaisleyMuseum.jpg?1526922153 "Entrance at the Paisley Museum. Image Courtesy of Paisley Museum") Entrance at the Paisley Museum. Image Courtesy of Paisley Museum One of 120 firms to tender for the project, AL_A will lead the design team including Giles Quarme and Associates, landscape architects GROSS.MAX, and engineers Arup. The museum is expected to reopen in 2022. News via: AL_A  This posting includes an audio/video/photo media file: Download Now |
| Posted: 21 May 2018 06:00 AM PDT  Courtesy of AE Superlab
 Courtesy of AE Superlab Text description provided by the architects. Located at the edge of a heavily wooded 3-acre plot in East Hampton, New York, The C+S house is a complete redesign and renovation of an existing 1970's era residence and serves as a retreat for the Manhattan based clients; a graphic designer, and an art consultant and curator.  Courtesy of AE Superlab Clean lines, minimalist details and a limited but carefully selected palette of materials, breathe new life into the existing house, while retaining and building on the idiosyncratic character of the original.  Plans The redesign takes its cues from the client's desire to create a living gallery space that would house their existing collection of artworks as well as serve as a canvas for several site-specific pieces commissioned specifically for the space. The most prominent of these are the two large scale murals that overlook the central double height living area, both of which draw inspiration from the views of the dense woods just beyond, framed by the new full-height, south-facing window wall in a playful dialogue between art and architecture.  Courtesy of AE Superlab The first, a subtle and ephemeral piece by the artist Mary Temple, echoes the play of light and shadow through the trees, while the second by artist Naomi Riis is a vibrant almost hyper-real representation of the natural world.  Courtesy of AE Superlab The existing vinyl exterior cladding of the house was replaced with a much more durable, charcoal grey GFRC rainscreen façade and the dining room glazing was extended to encompass the corner condition. The shape of the exterior openings was also modified to enhance their relationship with the extant canted roof line.  Courtesy of AE Superlab Notable reconfigurations to the interior layout include the reclaiming of a narrow and underused second floor circulation corridor which in turn allowed for the expansion of the master bedroom suite and the addition of a new en suite bathroom and walk-in closet. Banquettes at the edge of the living area are upholstered to compliment the main living room furniture and serve to activate a functional intermediate zone between the kitchen/dining and living zones as well as helping to visually define and demark the edge of the raised living area platform.  Courtesy of AE Superlab The theme of simplicity and lightness extends to the main stair to the second floor while the new "art wall" provides a new and ideal surface upon which to showcase artworks. The careful geometric order of the interior space and the minimalist material selection provide a powerful counterpoint to the lush wooded exterior. By opening up and re-framing the north living room aperture, the line separating interior and exterior becomes increasingly insubstantial both visually and materially.  Courtesy of AE Superlab  This posting includes an audio/video/photo media file: Download Now |
| C.F. Møller Architects Release Images of Proposed Urban Realm for Oslo Central Station Posted: 21 May 2018 05:00 AM PDT  Courtesy of C.F. Møller Architects C.F. Møller Architects have collaborated with Kristin Jarmund Architects and Rodeo Architects in the design of a new urban realm at Oslo Central Station in Norway, comprising a square, hotel, and high-rise building. The scheme seeks to create an attractive recreational area around the transport hub, connecting different areas and terrain differences in an organized, efficient flow. The latest scheme represents a further development of a proposal by C.F. Møller Architects and Kristin Jarmund Architects for the area in a prequalified architectural competition in 2009.  Courtesy of C.F. Møller Architects Located at the intersection of three urban districts, the scheme seeks to underline the meeting of special characteristics and qualities of the distinctive areas. Described as an "urban life generator," the scheme is designed to handle a large influx of transport users while remaining an attractive place to dwell. While buildings account for 100% of the existing site's area, the proposal seeks to give 50% of the site to publically accessible urban space. At ground level, the scheme establishes a "continuous landscape" linking the area with the river Akerselva while eliminating level differences.  Courtesy of C.F. Møller Architects Meanwhile, two new buildings will stand on a common base with the new square, comprising a hotel to the west, and office building to the east. Various terrace rings function as roof gardens and vantage points for views across the city while showcasing life inside the buildings through large window apertures.  Courtesy of C.F. Møller Architects For the scheme's development, the architectural team worked in collaboration with Bollinger & Grohmann Engineers and Transsolar. News of the proposal comes weeks after a similar announcement by C.F. Møller Architects of a proposal to transform the railway station site at Aarhus, Denmark into a car-free urban realm. News via: C.F. Møller Architects
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| Le Cabanon / Rick Joy Architects Posted: 21 May 2018 04:00 AM PDT  © Joe Fletcher
 © Joe Fletcher Text description provided by the architects. Near the southwest coast of the Providenciales, an island in the Turks and Caicos archipelago, Rick Joy Architects designed a family retreat whose privacy and quietness are cut through by the coastal breezes and long rays of tropical sun. On approach from the adjacent road, the multipartite complex appears to organically grow out of the site's natural coastline, its subtly textured eggshell concrete contrasting the bright turquoise water in the same way as the white sand that lines the shallow inlet. Taking visual cues from lush surroundings, which also include iron shore rock and verdant native vegetation, the architects produced tactile links between the building and its site: mahogany doors, windows and ceilings capture the warmth of the surroundings, while small, precisely placed openings let just the right doses of greenery inside.  © Joe Fletcher The plan of the house is deceptively simple: a generously sized terrace serves as the link between the private living areas to the west and a living-dining-kitchen pavilion to the east. This first volume, a long, slender bar, shields the rest of the house from the noise and movement on the adjacent street. The strategy works—from the interior, the spaces feel secluded and protected, and the ocean views from the kitchen pavilion seem entirely exclusive. This space sits quietly against the water, not quite indoors and not quite outdoors. Its asymmetric single-hip roof captures a generous interior space, and a single operable triangular window at its leeward tip creates gentle airflow, supplementing the deliberately designed cross-breezes that negate the need for air conditioning. Just outside, a shallow pool cuts a line between the sand and the adjoining terrace, bringing the expanse of ocean water ever closer to the living spaces.  © Joe Fletcher  Floor Plan  © Joe Fletcher  Sections  © Joe Fletcher The entire house is full of immersive moments like this one. From the corridors, the concrete walls create shallow view-angles that reveal glimpses of each subsequent space and simultaneously frame the sky above. Constructed by local builders trained by the construction team, the walls used locally sourced sand and aggregate, minimizing the need to import building materials. In a similar resource-conscious spirit, the architects placed a large cistern beneath the main terrace to harvest water and topped the flat sections of the roof with photovoltaic panels.  © Joe Fletcher In the bedrooms, pendant lights hang like flower buds from the ceiling and long fronds peek in from the adjacent rock-bottomed gardens. Natural linen curtains billow in the ocean breeze and let through just the right amount of sunlight. Sometimes, fishermen pull up to the Ipé docks, offering the day's catch. The result is a home that seems to bloom out of its site.  © Joe Fletcher  This posting includes an audio/video/photo media file: Download Now |
| Monetizing Your Architecture Practice Online: 4 Ways to Generate New Revenue Streams Posted: 21 May 2018 02:30 AM PDT .jpg?1526900955 "© <a href='https://unsplash.com/photos/vSchPA-YA_A'>Unsplash user freddy marriage</a>") © <a href='https://unsplash.com/photos/vSchPA-YA_A'>Unsplash user freddy marriage</a> Architecture's reliance on digital tools is rapidly advancing. Building Information Modeling (BIM) and augmented and virtual reality are quickly becoming the industry standard, along with more and more design businesses putting more effort and money into creating a stronger online presence. Because of this recent shift in focus, many firms have also begun experimenting with digital marketing strategies. Content creation is at the heart of any successful online business, so what does that look like in the field of architecture? These 4 examples of content could help you begin to monetize your designs and/or practice online. By no means are these 4 examples the only means to grow a design business, but all 4 take advantage of the present trajectory of architectural practice, leveraging the possibilities of an increasingly digital world. 1. Plan SetsThis tactic is perhaps the most popular, particularly in the residential market. Buying a set of construction-ready plans online is not a new idea, but there has long been a stigma associated with this type of practice. The wide assortment of cookie-cutter spec houses that dominate suburban areas may be efficient when it comes to building, but as far as design is concerned, the majority lack the attention to detail associated with custom residential architecture. Enter the architect. If you're a residential architect, odds are you have one (or a few) projects that have drawn some community recognition. You might have even had a prospective client contact you referencing that project, saying, "I want that!" Well, what if you had a place to direct them to give them exactly "that"?  © Trent Bell Eric Reinholdt of 30X40 Design Workshop began doing this based on the demand for the design for his own house, and he has since turned his studio into a thriving online business and residential practice. Reinholdt also includes variations of the design on his site, as well as the opportunity to purchase a basic set of plans in conjunction with a consultation to discuss further design elements and additional services. This type of business model does not have to stop at houses. While a smaller-sized project is more feasible in a production sense, stretching this philosophy into workspace and office design could be beneficial for those firms specializing in that market as well. There may presently be untapped potential with respect to plan sets. 2. Create a Digital Product (Ebook, Design Guide, Revit Templates, etc.)The ease of long-form content creation has increased exponentially in the recent years. You no longer have to create hard-copy manuscripts to please potential publishers in order to publish your own design manifesto. Do you or your firm have a unique way of designing? Create a compelling design guide that potential clients or followers can use to learn how to create their own professional-quality products. Maybe your practice has developed the most efficient Revit template for a specific project type. Loaded with pre-built families, details and wall types, your template could help a firm transitioning into the BIM universe, or maybe even a young architecture student experimenting with the software preparing for future employment. There are a variety of options for digital products, but creating and offering something that is intuitive, appealing and scalable is a great way to leverage online media to grow any size firm. 3. Online Courses Screenshot via <a href='https://www.youtube.com/watch?v=Az-m56vUjgw'>Masterclass trailer</a> While they are inherently a bit more labor-intensive to create and manage, online courses are a great way to generate online revenue. For architecture, types of courses could include Revit or other BIM software (perhaps designed to integrate with your own template), rendering or visualization tutorials, or even video production or photography, just to name a few. Masterclass is a good example of a collection of unique skills and practices taught by some of the best in their respective fields. Create your own collection of how-tos. 4. Product Design © Nigel Young/Foster + Partners Charles and Ray Eames are perhaps the most prominent example of product design in the world of architecture. Their firm worked on a variety of projects, including designs for furniture, exhibitions, homes, and even toys. Since the Eames during the dawn of modernism, even world-renowned architects like Zaha Hadid, Norman Foster and Bjarke Ingels have tried their hand in product design.  Z-Chair, 2011. Zaha Hadid. Enrico Sua Ummarino, courtesy of Sawaya & Moroni Industrial design and architecture share a symbiotic relationship. The furniture of an interior has the potential to enhance the design aesthetic. The same goes for accessories. With the ease of eCommerce integration into websites today, whether it's one piece of incredibly functional furniture or an elegant earrings-necklace ensemble, product design is another avenue to explore when thinking about utilizing the internet to your advantage.  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| Posted: 21 May 2018 02:00 AM PDT  Cortesia de Studio MK27
 Cortesia de Studio MK27 Text description provided by the architects. MiCasa Vol.C is a single open space that completes the existing furniture store complex in São Paulo. The complex consists of the original store, Vol.A, the annex designed by studio mk27 in 2007, Vol.B, and now the new space called Vol.C.  Cortesia de Studio MK27  First floor plan  Cortesia de Studio MK27 The demand for a flexible program led to the creation of an internal space that allowed for several possible uses: shop, exhibition space or temporary residence for invited artists, on a caravan that fits inside the space. The resulting space is a 15x15m floor plan with a 7,5m ceiling height. An Isamu Noguchi's pendant lamp punctuates the double symmetry of the space and explores its vertical dimension.  Cortesia de Studio MK27  Cortesia de Studio MK27 For the construction of a light pavilion, the studio adopted a wood structural system, continuing studiomk27’s recent research on the subject and suitable for a clean and fast construction.  Cortesia de Studio MK27  Axonometric 02  Axonometric 03  Cortesia de Studio MK27 A succession of glued laminated timber frames overcomes almost 15m spans. Every two modules, in the upper plane, steel rods are used for bracing the structure. A substructure supports the skin of the building and creates a gap between the plane of the façade and the pillars. This distance reinforces the reading of the rhythm and of the simple fittings of the wooden elements. Contrasting with the “straightness” of the metal structure of Vol.A and the brutalist exposed concrete of Vol.B, Vol.C seems to float off the ground gently, like a Japanese lantern. The building’s envelope is made of folded sheets of two different materials: translucent polycarbonate in the upper half and a white metal plate in the lower one. During the day, the shadows of surrounding trees are projected onto the façade, bringing the poetic movement of light and nature into the inner space. .  Cortesia de Studio MK27  This posting includes an audio/video/photo media file: Download Now |
| How Tree Trunks Are Cut to Produce Wood With Different Appearances and Uses Posted: 21 May 2018 01:00 AM PDT  © José Tomás Franco As wood is one of the most widely-used materials in the world, architects are accustomed to being able to easily obtain sawn wood at a nearby store. However, many of us know little about its manufacturing process and all the operations that determine its appearance, dimensions, and other important aspects of its performance. The lumber we use to build is extracted from the trunks of more than 2000 tree species worldwide, each with different densities and humidity levels. In addition to these factors, the way in which the trunk is cut establishes the functionality and final characteristics of each wood section. Let's review the most-used cuts. Parts of a TrunkA trunk is composed mainly of cellulose fibers joined by lignin. From the outside to the inside, we can identify the following parts:
 © José Tomás Franco When classifying woods for building according to their hardness—for both soft or hardwoods—it's fundamental to define the proportion of Sapwood to Heartwood inside the trunk. Softwoods (from fast-growing trees) are usually cheaper and easier to handle but are less resistant, while hardwoods (extracted from slow-growing trees) typically have greater strength but are more expensive and delicate. The growth rings, which tell us the age of the tree, and the medullary rays, which move the sap along the tree vertically, will also make a difference in the aesthetics and characteristics of the resulting wooden board. The Many Ways to Saw a Trunk and Their ResultsAlthough these techniques may differ depending on the use required, there are three main ways to cut a log into boards: Rift, Quarter and Flat Sawn- and a series of variations that arise from them: Rift SawnThis cut is made perpendicular to the growth rings. It keeps the wood grain visible and avoids warping (deformations in the shape of the board) or fissures (longitudinal cracks), but wastes more material than other cut types.  © José Tomás Franco Quarter SawnCuts are made parallel to the four axes of the trunk, obtaining pieces that are not too prone to warping with a large number of visible rings.  © José Tomás Franco Flat Sawn/Live SawnThis is a widely used method, although the resulting pieces are not of the best quality since most include a certain percentage of the Sapwood and the Heartwood. The centerpiece that coincides with the core can tend to break, while the remaining pieces are prone to warp and curl.  © José Tomás Franco Parallel BoardsThis is similar to the Flat Sawn system, but in this case, pieces of a smaller section are obtained, leaving fewer problems with warping.  © José Tomás Franco Cantibay MethodThis method allows for wide boards without major waste, while also eliminating the core of the trunk.  © José Tomás Franco Quarter Sawn (Alternative Method)The trunk is cut into four quarters to extract pieces of good quality in terms of strength and appearance.  © José Tomás Franco Whole PieceIn this case, the trunk is used to its maximum potential, eliminating the bark to obtain a single square log.  © José Tomás Franco Cross CutThis cut focuses on obtaining very resistant pieces, using the heartwood of the trunk to the full. From the remaining sapwood, smaller pieces are cut.  © José Tomás Franco Interlocked CutThe boards intersecting the core of the trunk are cut first. The remaining wood provides boards that are thinner but quite resistant to deformation.  © José Tomás Franco DeformationsWhen wood—which has a high moisture content as it grows—dries, different contractions occur depending on the cut made and the resulting arrangement of the growth rings. Although this varies in different species, the deformation is always greater in the direction tangential to the rings than in the radial direction.  © José Tomás Franco Check all the wood projects published on our site here.  This posting includes an audio/video/photo media file: Download Now |
| Mexican Architects Tell us Their Experience Working With 2018 Pritzker Prize Winner, B.V. Doshi Posted: 20 May 2018 11:00 PM PDT  Cortesía de Giovanni Llamas Earlier this year, the jury of the Pritzker Prize chose the Indian architect Balkrishna Doshi, also known as B.V. Doshi, or Doshi, as the winner of the 2018 Pritzker Prize. In recent weeks a lot of information has come to light about the winning architect's practice who, as you probably already know, was an apprentice and collaborator of Le Corbusier and Louis Kahn. Being the first Indian architect to receive Architecture's most prestigious award, Doshi has had an active career of more than 70 years, with a poetic architectural style that is based on oriental cultural influences, creating a production that "covers all socioeconomic classes, in a wide spectrum of typologies, since the 1950s," according to the jury's record. But, can you imagine what it's like to work with Doshi in his firm? We talked with four alumni from the School of Architecture, Art and Design from Tecnológico de Monterrey, who some years ago had the opportunity to travel to India to work directly with Doshi through a professional internship program promoted by the same university. Arturo Acosta, Jeimi Cuendulain, Airam Moreno and Giovanni Llamas tell us about their experience working in the firm, as well as anecdotes that marked them both professionally and personally that helped them see and experience architecture beyond the obvious. Here are their testimonies below: Arturo Acosta Falomir Cortesía de Arturo Acosta Falomir My experience with Doshi dates from the period of August to December 2010 when I was in my ninth semester. I learned about his firm while I was on a student exchange in Bilbao, Spain, and I happened to find the project called "Aranya", one of the best known to date, in a book. In 2009 I applied to enter a professional internship program promoted by the university, and since in that year we were already in the financial crisis of 2008 and construction had stopped, because of this I didn't want to go to Europe, I wanted to learn how despite the crisis there were countries that found ways to keep progressing, that's why I chose to travel to India. Doshi's office is located on the west side of the river, this specific part of the city began to develop in the sixties and is known as New City, it is an area surrounded by buildings and all the new wave of architecture that has been built since. However, his firm lies in a modest building with two floors, of which one is buried, where the garden predominates over the construction, like a small Eden within the city.  Cortesía de Arturo Acosta Falomir Inside the office there is a space for the carpentry workshop, which is a very important place within the process because that is where the final models are made, it is spectacular! They do a very beautiful job. Doshi constantly approached them to discuss the project and explain to them why the building had to be like this or that, they are the most senior members of the workshop, they know a lot about composition and architecture. Wood is very valuable in the office, only the final models are made of wood, when I arrived we used unicel that we collected from the garbage and with that, we had to show what we knew how to do, you have to earn your place. I started looking for ways to help others in different tasks until I was assigned to represent some projects and during my last month I was assigned to work directly with Doshi exploring the idea of building a tower in the eastern part of the city, the Old City that dated from the twelfth century.  Cortesía de Arturo Acosta Falomir One of the things I found different and that caught my attention was tea time, chai or coffee, this was carried out twice a day, once at 11 o'clock and another at 4 o'clock. It creates a dynamic of coexistence which is very marked in the office and it was during those periods of time when Doshi discussed the progress of the projects. It is a fundamental moment in the process and it is even more important that there is a person who is exclusively assigned to serve tea. There is also another tradition which consists of all the practitioners going to sing to Doshi on his birthday, and when it was my turn they all bowed in reverence in front of him, whereas I didn't know what to do so I did the same, but he raised me up and embarrassedly told me that I didn't have to do that since they were different cultures. The first time I spoke with him and he found out I was Mexican, he told me about his admiration for Legorreta and his love for Mexican architecture, he is a very humble person.  Cortesía de Arturo Acosta Falomir Doshi goes to yoga early, teaches at the university, goes to the office after two hours of tea and returns at dusk. It is very serene, in India they have the idea that things happen when they happen, not before or after and that was reflected in everything, even in punctuality (laughs), they are very slow, I stressed a lot because I I asked for urgent things and he said: no, relax, it's going to happen, these computers are very good, right? so they can do it. Traveling to India changed me a lot, day by day I could see how things changed around me, my clothes were falling apart, my shoes were getting moldy, the screen of my cell phone broke, once I almost swam to my house because of the rain, one day I realized that I lost 10kg. Working with Doshi meant a lot, but not only working with him, but the fact of living in India, I left my comfort zone, everything is different there; if I could summarize what I learned with Doshi, I would say that I learned to doubt, I learned to question myself, why are things the way they are and should they be that way? Jeimi Cuendulain Cortesía de Jeimi Cuendulain For me, traveling to Doshi's office was not an easy decision, I wanted to do my internship in a firm that is recognized in Europe but I also wanted to live the experience of being in India. I was researching and compiling experiences of people who had worked in several offices, then I learned about Doshi's experience of working with Le Corbusier and Louis Kahn and I finally decided for myself. Working in Doshi's office was a different experience from everything I had lived until then, we ate in the garden every day, we sat on the grass, the contact with nature was elementary, there were times when monkeys passed by running in the garden. For me it was incredible, and for them, it was the most natural thing. The two tea times were very important, we all took this time off, each one decided how long he wanted to be but it was something already established, it was part of the coexistence of the workshop.  Cortesía de Jeimi Cuendulain Being there is an experience that marks you, for me it represented an important cultural shock, the people in India are extremely warm, but they also demand a lot, hierarchies are very much respected. I had the opportunity to collaborate on a project at a university and I can say that I have seen the work of some firms that over time lose their essence, but Doshi doesn't, in his firm, the concepts, values and lines of work are very clear. Airam Moreno Cortesía de Airam Moreno I learned about Doshi because when I was looking for my internship I focused on two things: inspiration and work environment, among my options I had Vastu Shilpa, Carlos Ferrater and Alejandro Aravena. Part of my decision was based on the experiences of other people, and it was from hearing other's stories about working in Doshi's firm that I made my decision. I researched him a lot and I realized that Doshi's work evoked emotions, I loved his passion for social inclusion and the forgotten sectors, I was also dying to go to India, and I knew that if I didn't do it then, I would never do it. I went in my ninth semester, I arrived on August 1, 2014 and I worked there until December. The office is very large, it is divided into the technical area (software installation), the kakas that are the craftsmen in charge of making the models, the consulting area and the urban planning area. It is a multidisciplinary office and there is a lot of inclusion of both local as well as foreigners; the values that we see in Doshi's architecture is also applied in the firm, they are not separate things. I had the opportunity to participate in the Guggenheim contest and I got to do the production because I was already very advanced at it, but then I participated from the beginning in another contest on a smaller scale that was an art school in Badadora, where I was able to contribute to the design and I realized that all ideas are taken into account. They keep up to date in competitions, it is a very relaxed work environment, people walk barefoot in the office, this is something cultural but the office encourages these customs.  Cortesía de Airam Moreno Doshi is an architect who for over 60 years has remained true to his principles, we have a very interesting profession and as architects we also have benefits that we must apply positively to create efficient solutions in the short, medium and long term, all this impacted my way of living and how I see architecture, not only working in the firm but to live in India as well. In Mexico you do not see the lag so much, in India the classes are more mixed and it is easier to help this, and this really impacted me and made me realize that I want to do something about it. When Doshi worked with Louis Kahn or Le Corbusier he did not try to copy or imitate them, but he took what interested him and adapted it to his principles, to his philosophy, to the needs of his country. I would like to do the same with my country without forgetting that there are people who do not have the resources, there is much to improve, we must not forget this. Giovanni Llamas Cortesía de Giovanni Llamas I was in the ninth semester of my degree in 2011 and besides Le Corbusier, my hero, there was Louis Kahn, I saw a documentary called "My Architect" and that was the first time I heard about Doshi. The university offers many options for traveling and at that time it was very fashionable to go with Renzo Piano, but I was interested to know what was happening in India and my admiration for Louis Kahn was so great that I remembered the words of Luis Barragan "do not see what I do, see what I saw", I wanted to see what Louis Kahn saw. As an intern, you arrive at the house that Doshi gave to his daughter, then to the small oasis that is the office and at that moment I realized that the things that Louis Kahn had done would not have been what they are without Doshi's contribution. India has many well-recognized architects but it was he who promoted the modern movement in the country.  Cortesía de Giovanni Llamas Doshi was always touching everything, he is very aware of what is happening inside the firm and not only in terms of his projects but he wanted us to ask ourselves what we were doing there. On occasion he asked us what our purpose was but he didn't expect us to answer what he wanted to hear, it was thought that Doshi would not want to listen to the opinions of interns or recent graduates, but it was just the opposite, he reflected on everyone's ideas. For example, once we discussed what the company Apple is doing with design and Doshi said that, on the one hand, that was what architecture had to start doing: getting involved in the daily life of people but without being a luxury product.  Cortesía de Giovanni Llamas During my stay I worked on five different competitions, it was a job that did not stop, winning never meant stopping work, quite the opposite, but it was not something you were obligated to, everyone fell so much in love with the projects that it was up to them how much time they wanted to invest. Doshi frequently told us about order in the workspace, and I was chaotic at that time, when he asked me why I did it this way, I explained that it was a way of leaving things on pause to resume them the next day and he listened to me, he reflected on what I said in a very humble way. I was surprised to see an office so well organized, what I learned was that it is necessary to be present at all times, on a technical level but also on an emotional level. Doshi taught me that to be an architect was not to dominate the construction of buildings, to be an architect is to try to generate an impact on everyone's life. Once he asked me to show him my drawings and when he saw them he advised me to make them with ink so that I could see all those mistakes in the future to continue learning from them.  Cortesía de Giovanni Llamas Arriving at the office was a time to slow down, there was a bell at the door that sounded every time someone entered, for me, to ring that bell was to stop the chaos of India and enter the sanctuary that the firm represented. Doshi said that architecture was a celebration of life and that was his office, you left chaos behind to work on the celebration itself; It is not an environment of exploitation like in many other firms but, based on my experience I could see how Doshi and the entire firm tried to make the people who worked there grow. On my last day in the office Doshi called me to ask me if I had read the book about his work, I answered yes and asked him to write a dedication to which he agreed but, in addition to that copy, he gave me another one, one dedicated to my parents asking me to thank them for their part in allowing me to be there. This meant a lot to me, Doshi, more than a boss or the head of a firm, is a teacher. We thank Alfredo Hidalgo, Diego A. Rodríguez Lozano and Nora Sotres Villegas for their support in making this publication possible.  This posting includes an audio/video/photo media file: Download Now |
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