Arch Daily |
- Becoming: Spanish Pavilion at the Venice Biennale 2018
- Chinese Pavilion Opens With Robot-Printed 'Cloud Village' at 2018 Venice Biennale
- East & West Restaurant / Horizontal Space Design
- Rhyll / Jarchitecture Pty
- Grass Garden / JIEJIE STUDIO
- Mornington Beach Houses / Habitech Systems
- Kenwood Interdisciplinary Research Complex / Flad Architects
- Prix Versailles Celebrates 24 Projects for Their Outstanding Commercial Architecture in Africa, West Asia and Europe
- Vespucio Córdova Building / Ramón Coz + Benjamín Ortiz + Renato Jiménez
- 31 Winners Announced for 2018 MCHAP Outstanding Projects Prize
- Ayzenberg Group / Corsini Stark Architects
- 10 Chapels in a Venice Forest Comprise The Vatican's First Ever Biennale Contribution
- Closed House / Felipe Gonzalez Arzac arquitecto
- Empire Stores / S9 Architecture
- Spanish Pavilion at the 2018 Venice Biennale to Reflect Architectural Learning Environments
- AD Classics: Yale University Art Gallery / Louis Kahn
- Carla Juaçaba Presents Her Chapel Design for the Vatican at the 2018 Venice Biennale
| Becoming: Spanish Pavilion at the Venice Biennale 2018 Posted: 25 May 2018 09:45 PM PDT  Courtesy of La Biennale di Venezia. Image © Italo Rondinella As part of our 2018 Venice Architecture Biennale coverage, we present the completed Spanish Pavilion. Below, the curatorial team describes the exhibition in their own words. The exhibition, curated by the architect Atxu Amann, has occupied most of its budget in restoring the building in which it is located, "tattooing" its interior walls to load them with 143 proposals that are unified through 52 relevant concepts to our discipline today.  Courtesy of La Biennale di Venezia. Image © Italo Rondinella From the Architects. After winning the Golden Lion award at the Biennale Architettura 2016 for Unfinished –a project by architects Carlos Quintáns and Iñaqui Carnicero that explored the reinvented architecture of the construction crisis– the Spanish Pavilion now addresses the future of architecture from the point of researchers.  © Ana Matos Becoming looks to the future, and a common ground of training in schools, which extends to other learning spaces and at times creates a dialogue with other disciplines.  © Laurian Ghinitoiu From a starting point of 52 adjectives that qualify architecture and were presented in the Open Call, becoming provides a space for heterogeneous proposals and reflections on architecture and vindication of learning environments as a space for criticism and architectural creation.
 Planta Conceptos. Image Cortesía de Paty Nuñez Agency Among the eclectic selection inside the pavilion you will see proposals that critically review the past, others that redefine everyday spaces of the present, and those that imagine a future based on sustainability, well-being, and social justice, as well as visions that fuse the real world and the virtual one. For example, it will be the first time that the pavilion shows, doctoral theses on architecture.  © Laurian Ghinitoiu Becoming has also afforded specific opportunities within the framework of the Biennial. The first of these was to invite student collectives to present a project that transformed the exterior space of the Spanish Pavilion. The winning intervention can be seen during the Biennial and will remain in the pavilion once it is over.  Cortesía de Paty Nuñez Agency In the 1072 m2 of wallpaper that surrounds the pavilion, the graphic –as a method of investigation– constitutes a social language that allows to establish conversations in which to confront the untouchable, revising it and putting it in dialogue with other disciplines that also, as active agents, participate in a collective construction of the world.  © Ana Matos Curator: Atxu Amann Alcocer  This posting includes an audio/video/photo media file: Download Now |
| Chinese Pavilion Opens With Robot-Printed 'Cloud Village' at 2018 Venice Biennale Posted: 25 May 2018 09:00 PM PDT  © Liming Zhang The Chinese Pavilion at the 2018 Venice Architecture Biennale, themed "Building a Future Countryside", is endeavored to explore new technology and ideas to make better of China's rural areas. A digitally-fabricated outdoor pavilion "Cloud Village" has been set up in addition to the national exhibition at the Venetian Arsenale. The Cloud Village has a twisting form which creates a sequence of open and semi-enclosed spaces under its roof. It seeks to convey an abstraction of the everyday life in Chinese countryside where boundaries of private and public realms are not always defined. The Cloud Village is structurally made possible by the robotic printing technology developed by Philip F. Yuan and his team. Read below for a detailed account of the project from the architects.  © Philip F. Yuan Project description from the architects. Cloud Village reflects the contemporary reality of Chinese countryside through its semiotic performance of materiality. The recycled plastic material of the pavilion indicates the crisis of the environmental issue of contemporary Chinese countryside and establishes a critical rethinking on the sustainable way of spatial production for the future.  © Liming Zhang  Courtesy of Chao Yan  © Liming Zhang Response to the theme of the Chinese Pavilion — "Building a Future Countryside", the spatial distribution of Cloud Village pavilion is an abstract representation of everyday life in the country side. The pavilion contains four semi-enclosed cubic objects, which are organized together by a shared linear roof. As all the "private spaces" completely opens to this central public space, the boundary between them would only be defined by the roof. Consequently, there would be no clear distinction between the private and the public as well as the individual and the collective. In the end, this kind of spatial uncertainty produces a latent atmosphere for the site to destabilizing the identity of each occupant.  © Philip F. Yuan  Courtesy of Chao Yan  © Liming Zhang The pavilion aims to combine structural performance-based design methodology with robotic fabrication technology in a highly integrated process. The form of the pavilion is optimized by adopting a series of topological optimization algorithm to enhance the overall structural performance. By turning the flat roof into the waved geometry, the structural stiffness of the cantilever roofs is highly increased.  © Liming Zhang The robotic fabrication logic has been incorporated into the formation process. Then the continuous geometry of the pavilion is pixelated into a series of discrete components, each of which contains a unique crystalized printing tool-path. And as the stress on the overall form would be distributed into the pixels of the grid system, the entire network has to be modified into 5 types of different densities according to different structural performance along the surface.  The pavilion is constructed by prefabricated production. The main part is divided into 50 different printing components at the early stage of the design according to the internal stress distribution in the structure. The prefabricated components, including the seat and base, are all packed and transported to the biennial Venice exhibition field after the completion of the prefabrication of the robot printing in Shanghai factory. The whole construction process integrates the process from off-site factory customization to on-site assembly.  © Liming Zhang Based on the support of digital design and robotic construction technology, the Cloud Village demonstrates the full integration of structural performance analysis technology with the designed form and establishes a new model of production in building industry.  Project Name: Cloud Village News via: Archi-Union Architects.  This posting includes an audio/video/photo media file: Download Now |
| East & West Restaurant / Horizontal Space Design Posted: 25 May 2018 07:00 PM PDT  © Xufeng Jing
 © Xufeng Jing "Dong Xi" is a fantastic Chinese word, "East & West" in English, which stands for both the positions and the Taoist theory of the Five Elements, including the spatial concept, cultural attributes, and generally refers to a variety of specific or abstract people, things, objects... and so this place "grew."  © Xufeng Jing A huge banyan tree stands ahead. The plane layout and the circulation of the entire space are derived from this tree. Banyan trees are always found in the red earth. This one grows as well as it just matches the courtyard. The flight edged with the steel plates comes down step by step, full of black sand like the water running slowly, setting off the scenery in "Dong Xi".  © Xufeng Jing The bamboo steel installation at the entrance, hollow and twisty; you can even see the scene vaguely standing outside, through the doorplate with old-made steel; the power from the nature can be felt, when touching the exterior wall of "Dong Xi".  Model. Image Courtesy of Horizontal Space Design Door handles are handmade and specially tailored; the light bars built in the wall are the key to embodying and breaking the conventional rhythm. The various installations inside or outside are the motive of converting into art vision, required by the spatial relationship. In addition, there are seemingly causal wall patterns which are actually tiled according to the aesthetics, pillar with one unfinished side, and the shape of the lamps on which there are branches derived from the Anselm Kiefer's exhibition... All these feelings come from the love of design and life. Experiencing the richness from the east to the west and the visual feelings of "much in little", you might surprise about the area of only 100 square meters here.  © Xufeng Jing It's infrequent, which a piece of wood is 1.2 meters thick and 4 meters long, guests sit in pairs nearby the trunk, merging into the scene and creating a pleasant atmosphere in the space, the energy field is formed. Circulating water scene is multi-layered, falls down stack by stack, waves cover the waves. Brown Plexiglas and lights hang over the table, reflecting the pool water. The relationship of soft and hard is expressed by Leather and marble with copper. The partition made of double-layer screen at the entrance gives figures a view of the old picture.  © Xufeng Jing "East" area and "West" area coordinates each other but differ to each other. Two tea tables near the courtyard have respective styles and create different atmosphere. A coexistence art is expressed between human and environment, a state of mind "keep pace with others without losing yourself", a value orientation of richness and active advocating. They can be found in the decent made tea, the attendants' specially tailored clothing made of cambered Guangdong gauze, the control of food material quality, the choice of art decorations.  © Xufeng Jing From dining to chatting to being slightly drunk, after the enthusiasm, everyone parts to the east or the west.  © Xufeng Jing  This posting includes an audio/video/photo media file: Download Now |
| Posted: 25 May 2018 03:00 PM PDT  © Shannon McGrath
 © Shannon McGrath Text description provided by the architects. The site is engrossed by nature and aspect, therefore the design competes by being bold, sharp and textural. This boldness and expanding form is also an expression of the clients and their family growing out of their current holiday house, a caravan.  © Shannon McGrath Conceptual framework of the project Layer 2 - A solid black box expands out of the ground from nothing into a duality of aspect and function, picking up more materials as it expands toward French Island and Western Port Bay. The top storey acts as a self-sufficient lookout for when it is in use by a single couple, while downstairs acts as a family extension, with focus placed on play around the pool, spa, barbeque deck and cinema. Upstairs is decadent in its finishes and complex plan while downstairs is laid out and finished more simplistically; there is a play off between warm rustic materials and contemporary decadence.  © Shannon McGrath  Ground floor plan  © Shannon McGrath Layer 3 - The site specifics and clients brief presented a challenge for environmental design but we prevailed by including the following initiatives in the design.
 © Shannon McGrath Contribution to the lives of the inhabitants  © Shannon McGrath Relationship of the built form to the context of the project  © Shannon McGrath  This posting includes an audio/video/photo media file: Download Now |
| Posted: 25 May 2018 01:00 PM PDT  Shadow Island | Cloud Corridor. Image © Xiaoqi
 Grass Garden Entrance. Image © Hui Liang Text description provided by the architects. This project is a transformation of a courtyard to a tea house in a hutong in Beijing. The site is a rectangular courtyard with an area of about 100 square meters.  Northeast Aerial View of Grass Garden. Image © Xiaoqi Based on the corridor connecting all the buildings in Courtyard house in Beijing, the concerpt of "corridor space" is introduced: beside the four walls of courtyard, a new corridor space is added, with the door-facade of traditional form. While opening the façade, it is a corridor; while closing the façade, it is a room space. Inside the corridor, intellectuals and tea guests, sitting around, drink tea and discuss together.  Bamboo Space | Cloud Corridor | Sisi Dock. Image © Xiaoqi  Plan In the courtyard, the tile on the floor is a metaphor of water, with corridor suspended above the water. the big space in the corridor could be used as room and small space as furniture. According to the difference of sourouddings, with varied materials, scales, heights, and behavior modes, this corridor has many kinds of characters. From the courtyard entrance, through south, east and north wall, untill west wall, several spaces are organised: sisi dock on the south, linglong terrace, and yizhu corridor on the east, cloud corridor on the north, shadow island and sky cave house on the west.  Bamboo Space | Cloud Corridor | Shadow Island. Image © Xiaoqi  Section&Elevation  Cloud Corridor. Image © Xiaoqi Sisi dock is from "the book of songs", describing the clearance of water. it is at the beginning of the courtyard, on the north of original brick wall with traditional motif, above the water outlet.Inside this corridor with glass façades, the guests could appreciate the circulation of running water.  Inside the Sisi dock, Blue brick wall. Image © Xiaoqi  Grass Garden Entrance Corridor. Image © Hui Liang Linglong terrace situates on the east, an independent platform with the length of 2.1meter and width of 1.5meter. with 3 sides sourounded by the water, and several stepping stones inside. Drinking tea on the terrace, and listening the the running brook.  Bamboo Place, Inside Linglong terrace. Image © Xiaoqi  Bamboo Space. Image © Haolei Guan On the west side of the east room, a 60-centimeter-wide open space was planted with bamboos. A corridor in front of these bamboo is for appreciating them. Cloud corridor is under the roof of north room. "with the tea as wine for the distingished guests, and cloud going and coming as chariot". This corridor is mainly for the main tea ritual.  Inside the Bamboo Space. Image © Haolei Guan The shadow island in the northwest corner of the courtyard is surrounded by old locust trees. In autumn, we can drink tea and watch the pagoda flowers falling into "water". Or, when the courtyard is full of visitors, the door-facades putting together, the player could play chinese zither inside.  Shadow Island | Sky Cave. Image © Xiaoqi The sky cave house is built on top of the pagoda tree and between its branches. It was the highest point of the coutyard and also the finish point. inside it we could overlook the entire courtyard, or explore the outside world.  Bamboo Space | Cloud Corridor | Linglong terrace |Sisi Dock. Image © Xiaoqi  This posting includes an audio/video/photo media file: Download Now |
| Mornington Beach Houses / Habitech Systems Posted: 25 May 2018 12:00 PM PDT  © Nic Granleese
 © Nic Granleese Text description provided by the architects. Situated near Melbourne on the Mornington Peninsula, this project on the Mornington foreshore creates two double storey houses on a lot facing Port Phillip Bay and bordering the mouth of a local creek.  © Nic Granleese The houses utilise a palette of materials appropriate to their coastal location and surrounds, integrating an indigenous coastal landscape to create a building with a sensitivity to its location. The design seeks to bring foreshore pier proportions and detailing across the road and contribute to the public realm in the way it interacts with the creek mouth.  1st Floor Plan The houses have been designed and built using Habitech's modular flat packed wall and roof panels. The project was completed on a technically challenging site in just 8.5 months.  © Nic Granleese Built by local firm Individual Builders, the project has won the Victorian HIA Best Townhouse Of The Year award.  © Nic Granleese  This posting includes an audio/video/photo media file: Download Now |
| Kenwood Interdisciplinary Research Complex / Flad Architects Posted: 25 May 2018 10:00 AM PDT  © Steve Hall/Hedrich Blessing
 © Jeff Lendrum Text description provided by the architects. Representing the UW-Milwaukee campus' first new academic building in more than a decade, the Kenwood IRC houses academic and research space for STEM disciplines, provides space for the chemistry department including the Shimadzu Laboratory for Advanced and Applied Analytical Chemistry, serves as the new home for the physics department and includes labs for the Zilber School of Public Health. But its presence is being felt throughout the campus because of how it is sited and the way it is being used by so many different students.  © Steve Hall/Hedrich Blessing UW-Milwaukee is an urban campus that was in need of state-of-the-art space for schoolwork and interaction. Students walking from parking to the heart of the academic center, student union and student housing would traverse an alley along the future IRC site and be funneled across the pedestrian overpass that is one of the few ways to quickly and safely cross North Maryland Avenue. Situating the building and designing it to take best advantage of prevailing conditions, Flad created a ground floor that serves as a pedestrian pathway, indoors and out. A loggia provides a covered walking path during warmer months, and helps efficiently route foot traffic from the student union to the east, through the site and beyond to the rest of the quad. The lobby, which accentuates the linear nature of the corridor's east-west connection using horizontal channel glass, is the main thoroughfare throughout the colder months, as well as a magnet for students all school year long. Since its opening, the lobby has become a "third place" in students' daily lives beyond home and the classroom.  © Jeff Lendrum The prominence of the lobby space within the building's floor plan makes the IRC, technically speaking, an unusual hybrid. Floor slabs, lighting, ventilation and other building systems conform to the separate requirements of labs for the life sciences and physical sciences. For example, a below-grade core facility for condensed matter physics research was designed for sensitive instrumentation to protect equipment operation from the vibrations of passing city traffic. A communicating stair that links the third, fourth and fifth floors is an important connective element; its purpose, besides conveying people, is to offer opportunities for casual conversations and learning outside of formal settings.  Floor The exterior expression of yellow terracotta, exposed concrete and metal panels is rendered as an assemblage of components, a metaphor for the research and innovation happening within. Dynamic and transparent, the building offers ample viewsof interior movement in the two-story lobby corridor and communicating stair, in addition to offices and instructional spaces on the upper floors.  © Jeff Lendrum An iconic building that offers researchers and students in the upper floors a spectacular view of downtown Milwaukee, the IRC maintains the connection between different areas of campus and creates a fresh palette of color and light as a template for future construction. The IRC has created a new brand for all of scientific research at UW-Milwaukee, and the campus as a whole.  © Steve Hall/Hedrich Blessing  This posting includes an audio/video/photo media file: Download Now |
| Posted: 25 May 2018 09:00 AM PDT  Apple Dubai Mall / Foster + Partners image © Nigel Young; Enigma / RCR Arquitectes - Pau Llimona image © cortesía de RCR Arquitectes/Pau Llimona; Concrete Restaurant / Boozhgan Studio image © Deed Studio. Image On April, the continental ceremony of the Prix Versailles 2018 took place in the International Center of Conférences d'Alger with the announcement of the selected projects in shops, shopping centers, hotels and restaurants for the "Africa and West Asia" and "Europe" regions. The 24 new projects are now incorporated into the list of 46 continental winners -from Central America, the South and the Caribbean; North America; Central Asia and the Northeast; and South Asia and the Pacific regions- resulting in 70 projects that will compete in the 2018 Prix Versailles World Final at the UNESCO Headquarters. See the selected projects after the break. Continental Winners Africa and West AsiaCategoy: Shops & StoresShops & Stores - Prix Versailles Africa and West Asia 2018 Shops & Stores - Special prize Interior Shops & Stores - Special prize Exterior  Apple Dubai Mall / Foster + Partners. Image © Nigel Young Category: Shopping MallsShopping Malls - Prix Versailles Africa and West Asia 2018 Shopping Malls - Special prize Interior Shopping Malls - Special prize Exterior Category: RestaurantsRestaurants - Prix Versailles Africa and West Asia 2018 Restaurants - Special prize Interior Restaurants - Special prize Exterior  Concrete Restaurant / Boozhgan Studio. Image © Deed Studio Category: HotelsHotels - Prix Versailles Africa and West Asia 2018 Hotels - Special prize Interior Hotels - Special prize Exterior Continental Winners EuropeCategory: Shopping MallsShopping Malls - Prix Versailles Europe 2018  Watermark WestQuay / ACME. Image Cortesía de ACME Shopping Malls - Special prize Interior Shopping Malls - Special prize Exterior Categoy: Shops & StoresShops & Stores - Prix Versailles Europe 2018 Shops & Stores - Special prize Interior Shops & Stores - Special prize Exterior Category: HotelsHotels - Prix Versailles Europe 2018 Hotels - Special prize Interior Hotels - Special prize Exterior  Casa Cook Kos Hotel / Mastrominas ARChitecture. Image © George Fakaros Category: RestaurantsRestaurants - Prix Versailles Europe 2018 Restaurants - Special prize Interior  Enigma / RCR Arquitectes - Pau Llimona. Image Cortesía de RCR Arquitectes/Pau Llimona Restaurants - Special prize Exterior  Hof van Duivenvoorde / 70F architecture. Image © Luuk Kramer  This posting includes an audio/video/photo media file: Download Now |
| Vespucio Córdova Building / Ramón Coz + Benjamín Ortiz + Renato Jiménez Posted: 25 May 2018 08:00 AM PDT  © Fernanda Del Villar
 © Fernanda Del Villar Text description provided by the architects. The building is located on a land that joins two zones with different regulations and different uses. To the east, Americo Vespucio and its inter-communal park, to the west, mixed residential and commercial zone, characterized mainly by the Alonso de Córdova axis.  © Fernanda Del Villar .jpg?1517279695 "First floor plan") First floor plan  © Fernanda Del Villar Given this condition and in response to this urban situation, the project proposes as a main motivation to create a public space on the pedestrian level, connecting the two areas, giving to a transforming historically residential area, a place that understands the two scales and establishes the link.  © Fernanda Del Villar  Section 09  © Fernanda Del Villar Two geometric volumes displaced overlapped from each other, differentiated by their materials, a glazed body towards the Andes Cordillera and the park, and a more discreet and controlled facade to the west, define its formal proposal.  © Fernanda Del Villar  This posting includes an audio/video/photo media file: Download Now |
| 31 Winners Announced for 2018 MCHAP Outstanding Projects Prize Posted: 25 May 2018 07:53 AM PDT  Smithsonian National Museum of African American History and Culture by Adjaye Associates. Image © Alan Karchmer/NMAAHC The Mies Crown Hall Americas Prize (MCHAP) has announced the 31 winning schemes for the "2018 Outstanding Projects" award, chosen from 200 nominations. Awarded on a biennial basis, the awards seek to recognize the most distinguished architectural works built on the continents of North and South America. The 31 projects will now form a shortlist for the MCHAP Prize, with winners to be announced in July 2018. Hosted by the Illinois Institute of Technology (IIT), the winner will be honored in a grand prize ceremony at Mies van der Rohe's iconic Crown Hall in October. In the last series, top honors went to SANAA's Grace Farms in New Canaan, Connecticut, USA. The awards were announced during an event at the Venice Biennale by MCHAP director Dirk Denison. 2018 MCHAP Outstanding Projects239 House in São Paulo, Brazil / Una Arquitetos  239 House in São Paulo, Brazil / Una Arquitetos. Image © Nelson Kon  Alfred Taubman Wing of the Art and Architecture Building in Ann Arbor, Michigan, US / Preston Scott Cohen & Carl Dworkin. Image © James Haefner Audain Art Museum in Whistler, British Columbia, Canada, / John and Patricia Patkau  Audain Art Museum in Whistler, British Columbia, Canada, / John and Patricia Patkau. Image © James Dow / Patkau Architects Aysén State Museum in Coyhaique, Aysén, Chile / Cristóbal Tirado + Silvia Barbera y Jorge Batesteza Cave of Light (SIFAIS) in La Carpio, San Jose, Costa Rica / Entre Nos Atelier Daniels Building in Toronto, Ontario, Canada / NADAAA EXPERIMENTA 21 in Córdoba, Argentina / MORINI ARQUITECTOS  EXPERIMENTA 21 in Córdoba, Argentina / MORINI ARQUITECTOS. Image © Gonzalo Viramonte  Figueras Polo Stables in General Rodríguez, Buenos Aires, Argentina / Juan Ignacio Ramos & Ignacio Ramos. Image © Franco Molinari Fort York National Historic Site Visitor Centre in Toronto, Ontario, Canada / John and Patricia Patkau Fundación Santa Fé de Bogotá Hospital Expansion in Bogotá, Colombia / Giancarlo Mazzanti Sierra  Fundación Santa Fé de Bogotá Hospital Expansion in Bogotá, Colombia / Giancarlo Mazzanti Sierra. Image © Alejandro Arango Hermosillo Social Housing in Hermosillo, Sonora, Mexico / Alberto Kalach Huma Klabin Residential Building in São Paulo, Brazil / Una Arquitetos  Huma Klabin Residential Building in São Paulo, Brazil / Una Arquitetos. Image © Nelson Kon IMS Paulista in São Paulo, Brazil / Andrade Morettin Architects  IMS Paulista in São Paulo, Brazil / Andrade Morettin Architects. Image © Nelson Kon Iturbide Studio in Mexico City, Mexico / Taller | Mauricio Rocha+Gabriela Carrillo Kent State Center for Architecture and Environmental Design in Kent, Ohio, US / WEISS/MANFREDI Architecture/Landscape/Urbanism Learning Landscape - Piura University in Piura, Peru / Sandra Barclay-Jean Pierre Crousse MAPOCHO 42K in Santiago, Chile / M42K Lab_Sandra Iturriaga Medellín River Parks Phase 1A in Medellín, Antioquia, Colombia / Sebastián Monsalve Gómez Oaxaca's Historical Archive Building in Oaxaca de Juarez, Mexico / Ignacio Mendaro Corsini  Oaxaca's Historical Archive Building in Oaxaca de Juarez, Mexico / Ignacio Mendaro Corsini. Image © Élena Marini Silvestri  PRO.CRE.AR Buenos Aires Station Sector 10 in Barracas, Buenos Aires, Argentina / Manteola, Sánchez Gómez, Santos, Solsona, Sallaberry, Vinsón arquitectos. Image © Javier Agustín Rojas Punta Caliza Holbox Hotel in Lázaro Cárdenaz, Quintana Roo, Mexico / Estudio Macías Peredo Rode house in Chiloe Island, X Region, Chile / Pezo von Ellrichshausen  Rode house in Chiloe Island, X Region, Chile / Pezo von Ellrichshausen. Image © Pezo von Ellrichshausen Roy and Diana Vagelos Education Center in New York, US / Diller Scofidio + Renfro  Roy and Diana Vagelos Education Center in New York, US / Diller Scofidio + Renfro. Image © Iwan Baan SESC 24 de Maio in São Paulo, Brazil / Paulo Mendes da Rocha  SESC 24 de Maio in São Paulo, Brazil / Paulo Mendes da Rocha. Image © Nelson Kon Smithsonian National Museum in Washington D.C., US / Freelon Adjaye Bond & Smith Group  Smithsonian National Museum of African American History and Culture by Adjaye Associates. Image © Darren Bradley Tepanzolco Cultural Center in Cuernavaca, Morelos, Mexico / PRODUCTORA + Isaac Broid  Tepanzolco Cultural Center in Cuernavaca, Morelos, Mexico / PRODUCTORA + Isaac Broid. Image © Jaime Navarro The SIX Affordable Veterans Housing in Los Angeles, California US / Brooks + Scarpa  The SIX Affordable Veterans Housing in Los Angeles, California US / Brooks + Scarpa. Image © Tara Wucjik Torre Reforma in Mexico City, Ciudad de Mexico, Mexico / L. Benjamin Romano  Torre Reforma in Mexico City, Ciudad de Mexico, Mexico / L. Benjamin Romano. Image © Alfonso Merchand True North in Detroit, Michigan, US / Edwin Chan/EC3  True North in Detroit, Michigan, US / Edwin Chan/EC3. Image © Chris Miele Typical Metro Stations - Line 2 Bahia in Salvador, Bahia, Brazil / JBMC arquitetura e urbanismo  Typical Metro Stations - Line 2 Bahia in Salvador, Bahia, Brazil / JBMC arquitetura e urbanismo. Image © Nelson Kon Writers Theatre in Glencoe, Illinois, US / Studio Gang  Writers Theatre in Glencoe, Illinois, US / Studio Gang. Image © Hedrich Blessing News via: MCHAP  This posting includes an audio/video/photo media file: Download Now |
| Ayzenberg Group / Corsini Stark Architects Posted: 25 May 2018 06:00 AM PDT  © Steve King Photography
 © Steve King Photography Text description provided by the architects. This project involves the renovation of a two story, 12,400 SF building and addition of a three-story, 9,200 SF building that then interconnect with three-story and one-story buildings long-occupied by the agency.  © Steve King Photography PROGRAM: A common problem for multi-faceted creative advertising agencies is that staff and workgroups can easily become isolated into workplace islands of specialization. The problem can be more acute when the organization occupies multiple floors in a single building. In this case, the agency has grown by acquiring adjacent buildings as they became available over the last eight years. So spatial integration between existing and new buildings and through multiple floors to make the workplace feel as one and encourage collaboration is truly a three-dimensional problem.  Ground Level Plan DESIGN INTENT: To address the visual interconnection between floors, a shaft of space runs diagonally from the first level gathering space to a large light monitor at the third level, framing a view of the sky and visually uniting the three-level workspace as one. Between the new and existing buildings and within the new building itself, circulation loops functionally tie common spaces together. Axial, oblique, and diagonal sightlines, some which coincide with circulation pathways, help weave space, light, and movement together, creating constant awareness of spaces beyond the space one occupies. This simultaneity lends the project a palpable rhythm of space and activity, where larger, scheduled meetings and impromptu discussions occur at once within the workplace visual field without compromising privacy and workgroup activity.  © Steve King Photography  This posting includes an audio/video/photo media file: Download Now |
| 10 Chapels in a Venice Forest Comprise The Vatican's First Ever Biennale Contribution Posted: 25 May 2018 05:00 AM PDT  Aerial view. Image © Laurian Ghinitoiu With the opening of the 16th Venice Architecture Biennale comes a look at the first ever contribution by the Holy See, an exhibition that brings together architects to design chapels that, after the Biennale, can be relocated to sites around the globe. Located in a wooded area on the Venetian island of San Giorgio Maggiore, 10 chapels by architects including Norman Foster, Eduardo Souto de Moura, and Smiljan Radic, are joined by the Asplund Chapel by MAP Architects. This 11th structure serves as a prelude to the other chapels, while reflecting on Gunnar Asplund's 1920 design for the Woodland Chapel. The Asplund Pavilion, like the Woodland Chapel that inspired it, is intended as a "place of orientation, encounter, meditation, and salutation." The interior hosts an exhibition of drawings by Gunnar Asplund for the Woodland Chapel, accompanied by documents and models illustrating its concept and construction. The subsequent journey sees visitors encounter 10 chapels symbolizing the Ten Commandments, also offering 10 unique interpretations of the original Woodland Chapel. Below, we present new photographs of the 11 completed structures comprising the first Holy See Pavilion. Smiljan Radic, Chile Smiljan Radic. Image © Laurian Ghinitoiu Carla Juaçaba, Brazil Carla Juaçaba. Image © Laurian Ghinitoiu Javier Corvalán, Paraguay Javier Corvalán. Image © Laurian Ghinitoiu Sean Godsell, Australia Sean Godsell. Image © Laurian Ghinitoiu Eva Prats & Ricardo Flores, Spain Flores&Prats. Image © Laurian Ghinitoiu Eduardo Souto de Moura, Portugal Eduardo Souto de Moura. Image © Laurian Ghinitoiu Francesco Cellini, Italy Francesco Cellini. Image © Laurian Ghinitoiu Norman Foster, United Kingdom Norman Foster. Image © Laurian Ghinitoiu Andrew Berman, USA Andrew Berman. Image © Laurian Ghinitoiu Teronobu Fujimori, Japan Teronobu Fujimori. Image © Laurian Ghinitoiu Asplund Chapel, MAP Architects MAP Architects. Image © Laurian Ghinitoiu  This posting includes an audio/video/photo media file: Download Now |
| Closed House / Felipe Gonzalez Arzac arquitecto Posted: 25 May 2018 04:00 AM PDT  © Javier Agustin Rojas
 © Javier Agustin Rojas "Architecture is inhabited sculpture" is one of the phrases of the prestigious Romanian artist Constantin Brancusi. It has to do with one of the premises of the work philosophy of the architect Felipe Gonzalez Arzac, and the housing that we share in images.  © Javier Agustin Rojas The rationalist, modern and conceptual language materializes in this house, in the same way as the pure geometric forms. Precisely, there is an intention that the pedestrian see the house on its exterior as a sculptural object; that inhabited sculpture to which Brancusi referred.  © Javier Agustin Rojas  Plan  © Javier Agustin Rojas There, a bucket of blunt concrete, its totally blind façade and its open sides give a particular visual impact, generating the sensation of being witnessing a completely dark house inside, closed, without much connection with the outside. However, it is the opposite effect that is generated when entering the house, which is decomposed and perforated almost entirely with a large courtyard as a compositional center, trigger circulation and central axis of its composition.  © Javier Agustin Rojas  © Javier Agustin Rojas This game between exterior and interior and the decision to create internal patios is one of the hallmarks of this study, which also plays a leading role here: here, the interior, totally glazed, is linked to the exterior, seeking the dissolution of limits. In this sense, the house reveals a search and an intention of exploitation and spatial disintegration of the cube, which is dynamized from two axes that cross it in different hierarchies; a main competitive transversal axis that breaks with the static of the "concrete box", generating a lineal perspective to the infinite, articulated by the dining kitchen and the longitudinal table, the gallery, the concrete wall and the infinite linear sink that ends enhance this axis. Then, the house proposes another secondary transversal axis, in a direction parallel to the street, materialized with the lower wall that defines the access to the house. A separate paragraph in the conceptualization of this house deserve concrete and its value as plastic and malleable material, and glass, as a transparent material that opposes the imposing concrete box. Both create a home that generates two very opposite situations, one from the outside and a very different inside.  © Javier Agustin Rojas  Section  © Javier Agustin Rojas Thus, as a work of art, housing offers multiple looks, dissolved boundaries and a game visual where the architecture becomes that sculpture to be inhabited.  © Javier Agustin Rojas  This posting includes an audio/video/photo media file: Download Now |
| Empire Stores / S9 Architecture Posted: 25 May 2018 02:00 AM PDT  © Imagen Subliminal  © Imagen Subliminal Text description provided by the architects. Empire Stores is emblematic of Brooklyn's transformation from lapsed industrial powerhouse into a growing creative sector. This award-winning mixed-use development reimagines a vacant, 19th century warehouse on the DUMBO waterfront as a contemporary creative workplace and community hub. The conversion of this 450,000sf complex provides Brooklyn's burgeoning Tech Triangle with much-needed office space, and brings retail, dining, public space, and exhibition galleries to the neighborhood. The campaign of adaptive re-use celebrates and preserves the building's monumental presence on the waterfront, while improving circulation between DUMBO's urban fabric and the 85-acre Brooklyn Bridge Park.  Progress Diagram  Diagram Architectural intervention transformed this massive building, once a barrier standing between the neighborhood and the park, into a public portal that reconnects the two zones. A passageway carved out of the masonry structure creates a pedestrian conduit between Water Street and the waterfront. A four-story, open-air courtyard excavated from within the center of the building serves as an immersive public space for building tenants, community members, and park visitors. Glass curtain walls line the courtyard, blending the contemporary and the historic to make visible the building's striations: shopping and a public food court at grade, galleries for the Brooklyn Historical Society on the second floor, and multiple floors of open office space above.  © Imagen Subliminal By adapting the rooftop into a landscaped public terrace accessible from the courtyard, Brooklyn Bridge Park is extended into the building organically. This 7,000sf space that offers iconic views of the bridges and the Manhattan skyline augments the park's recreational facilities with a restaurant and beer garden.  © Patrick Donahue The reanimated complex features 380,000sf of creative office space over five floors, including a two-story contemporary addition on the roof. Retail and restaurants constitute 70,000sf on the ground floor with 3,000sf of exhibition space on the second floor.  © Imagen Subliminal  This posting includes an audio/video/photo media file: Download Now |
| Spanish Pavilion at the 2018 Venice Biennale to Reflect Architectural Learning Environments Posted: 25 May 2018 01:00 AM PDT  © Pati Núñez Agency While 2016's Golden Lion-winning project 'The Unfinished' surveyed architecture after the construction crisis, this year's Spanish pavilion will explore architecture's future through the eyes of researchers. The 'becoming,' an exhibition curated by Spanish architect Atxu Amann, opens its doors to the works and productions of architecture students developed between 2012 and 2017. According to the curators, "becoming makes an allusion to a vector of the future, with a common educational background in the 'EscuelaS,' which extends to other learning experiences in space and time, in dialogue with other disciplines."  © Pati Núñez Agency Starting from a series of 55 adjectives that rate the proposed architecture in the open competition, "becoming" accommodates heterogeneous proposals and reflections on architecture and revindicates learning environments as a space for architectural creation and criticism.  © Pati Núñez Agency "Among the eclectic selection inside the pavilion you will see proposals that critically review the past, others that redefine everyday spaces of the present, and those that imagine a future based on sustainability, well-being and social justice, as well as visions that fuse the real world and the virtual one," they explained. In turn, the team behind "becoming" sent specific invitations within the framework of the Biennial: the first invited architecture students from Spain to present a transformation project of the exterior perimeter space of the Spanish pavilion in Venice. The winning intervention can be seen during the biennial and hopes to remain in the pavilion once the festival ends. The second accepted proposal will reoccupy the rear space of the pavilion. The space, which was traditionally used for storage, will now become the main exit of the exhibition. The curtain installation will reflect the concepts that have inspired the show. Additionally, the Spanish, Belgian, and Dutch pavilions announced an open call called "Out of the Box." This proposal seeks to occupy the outdoor space between the three pavilions. The winner, selected over 100 submissions, was the Europa installation, created by Belgian students proposing to erase the divisions between the countries and their pavilions. The exhibition at the Venice Biennale will remain open from May 26 to November 25, 2018. Curator: Atxu Amann Alcocer  © Pati Núñez Agency  © Pati Núñez Agency  © Pati Núñez Agency  This posting includes an audio/video/photo media file: Download Now |
| AD Classics: Yale University Art Gallery / Louis Kahn Posted: 25 May 2018 12:00 AM PDT  © Samuel Ludwig Yale University's School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school's Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university's art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism.[1] Completed in 1953, Louis Kahn's Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn's first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.  © Samuel Ludwig The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa.[2] Kahn's early plans responded to the university's wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating "service" and "served" space, a dichotomy that Kahn would express often later in his career.[3] As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, "This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them."[4] As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building's utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building's vitality.  © Samuel Ludwig  Reflected ceiling plan Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale.[5] It was with Fuller's iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building's structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane."[6] In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.  Ceiling detail Though Kahn's structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms.[7] The soft, ambient light emitted evokes that of a cathedral; Kahn's gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.[8]  © Samuel Ludwig  Elevation Of the triangulated, concrete slab ceiling, Kahn said "it is beautiful and it serves as an electric plug."[9] This principle—that a building's elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery's ceiling and the triangular form above.[10] In asserting that the stairs "are designed so people will want to use them," Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: "living" in its adaptability and "breathing" in its complex ventilation system (also encased in the concrete tetrahedrons).[11][12]  © Samuel Ludwig  © Samuel Ludwig Given the structural and aesthetic triumphs of Kahn's ceiling and stair, writing on the Yale Art Gallery tends to focus on the building's elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.[13] Recalling the European practice, Kahn presents a formal facade on York Street—the building's western frontage—and a garden facade facing neighboring Weir Hall's courtyard.[14] His respect for tradition is nevertheless articulated in modernist language.  © Samuel Ludwig Despite their visual refinement, the materials used in the gallery's glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn's readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions.[15] The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale's revivalist campus as worth saving.[16]  © Samuel Ludwig Even with a pristinely restored facade, Kahn's interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn's space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space "can see Kahn struggling a bit and can identify with that struggle." Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn's gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: "its beauty does not emerge at first glance but comes only after time spent within it."  © Samuel Ludwig References
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| Carla Juaçaba Presents Her Chapel Design for the Vatican at the 2018 Venice Biennale Posted: 24 May 2018 11:00 PM PDT  View of the Chapel. Image © Carla Juaçaba Selected along with nine other architects by the Vatican, Carla Juaçaba has shared images of her proposed chapel design as part of the Venice Architecture Biennial, which marks the city-state's first time participating in the largest architectural event in the world. The proposed chapel design seeks a harmonious integration between the water and trees that surround Venice, with the nearby vegetation outlining the interior space of the chapel. The space between the treetops - which offers a view of the sky - functions as the ceiling of the chapel. Structurally, the chapel is framed by four beams in a square section, measuring 12 by 12 centimeters and 8 meters in length, shaped by a standing cross, and another cross projected on the ground. One serves as a bench, the other as a cross: two vital elements of Catholic architecture. The structure is built on concrete sleepers distanced every meter, elevating the chapel floor. The concrete elements give a certain feeling to the space as a whole. The beams are made of polished stainless steel, transforming them into mirrors that reflect the surroundings. With these beams, the chapel can "disappear" at certain times, depending on the reflection of the sun, and trees.  Aerial view of the chapel. Image © Carla Juaçaba Among those selected are the award-winning Pritzker architects Eduardo Souto de Moura (Portugal) and Norman Foster (England), as well as South America's Smiljan Radic (Chile) and Javier Corvalán (Paraguay). The selection was completed by Flores & Prats (Spain), Francesco Celini (Italy), Sean Godsell (Australia), Andrew Berman (United States), and Teronobu Fujimori (Japan). The curator is Francesco Dal Co, an architectural critic, historian, and editor of Casabella Magazine since 1996.  Isometric schematic of the chapel. Image © Carla Juaçaba The chapels will be built on the Island of San Giorgio Maggiore, next to the famous basilica of Andrea Palladio (1573). As reported earlier, the Vatican intends to dismantle the chapels once the biennial is over and rebuild them in Italian communities that were affected by the earthquakes two years ago.  This posting includes an audio/video/photo media file: Download Now |
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